BEIOGRAPBY  OF 


FINE  ART 


R.STURGlSandH.E.KREHBlEL 


A{i 


A^' 


^ 


American  Library  A ssociation  Annotated  Lists 


Annotated  Bibliography  of 


FINE  ART 


Painting,  Sculpture,  Architecture,  Arts  of  Decoration  and 

Illustration 

BY    RUSSELL    STURGIS 


Music 
BY   HENRY  EDWARD   KREHBIEL 


Edited  by  GEORGE  ILES 


BOSTON 

146  Franklin  Stkkkt 
Published  for  the  American  Library  Association  Publishing  Section  by 

THE    LIBRARY    BUREAU 
1897 
New  York:  280  Broadway  Pnn,ADELi'HiA  •  112  North  Broad  Street 

Chicago:  215  Madison  Street  Washington,  D.  C:  1416  F  Street. 

St.  Louis  :  Security  Building  London  :  10  Bloomsbury  Street,  W.  C. 

Price,  Fifty  Cents  in  Paper ;  $1.00  ///   Cloth 


Copyright.  1S97. 
By  the  American  Library  Association 


PREFACE. 

In  this  bibliography  Mr.  Russell  Sturgis  and  Mr.  Henry  E.  Krehbiel  place 
before  readers,  students,  and  librarians  a  thousand  carefully  chosen  works  on  Fine 
Art,  with  descriptive,  critical,  and  comparative  notes.  They  thus  enlarge  five-fold 
their  contributions  to  "  The  List  of  Books  for  Girls  and  Women  and  Their  Clubs," 
published  by  the  American  Library  Association  m  1895.  The  notes  here  given 
incidentally  offer  many  important  canons  of  art  criticism,  and  may  well  tempt 
readers  to  consecutive  perusal.  To  librarians  who  wish  to  select  books  beyond  the 
thousand  here  presented,  the  pages  which  follow  contain  valuable  indication — as  in 
setting  forth  he  Avery  catalogue,  on  p.  38.  The  competent  and  helpful  appraisal 
of  literature,  ow  fairly  begun  by  the  American  Library  Association,  it  hopes  to  see 
extended  in  the  near  future.  During  1897  it  is  expected  that  an  appendix  may 
be  issued  to  "  The  Reader's  Guide  to  Economic,  Social,  and  Political  Science," 
published  by  the  .Society  for  Political  Education  in  1891.  Within  a  year  or  two 
there  is  promise  that  an  annotated  bibliography  of  American  history  may  be  taken 
in  hand,  and  also  a  similar  guide  to  the  literature  of  certain  important  fields  of 
applied  science.  In  the  fulness  of  time  it  may  be  possible  thus  to  appraise  every 
"worthy  book  shortly  after  its  publication  ;  and,  in  addition  to  the  issue  of  the  notes 
in  book-form,  to  distribute  them  on  cards  to  follow  title  cards  in  the  catalogue  cases 
of  public  libraries  and  to  be  pasted  in  the  books  appraised.  This  plan  would  proffer 
guidance  at  the  most  effective  points. 

The  numbers  which  follow  the  notes  are  those  of  the  Dewey  Classification. 

The  index  is  by  Mrs.  Mary  E.  Haines,  of  Brooklyn,  N.  Y. 

Mr.  Russell  Sturgis  pursued  the  study  of  architecture  in  an  architect's  office 
in  New  York,  and  for  a  year  and  a  half  m  Europe.  He  practised  his  art  from  1865 
to  1878,  during  which  time  he  designed  many  important  buildings,  including  Battel! 
Chapel,  Farnam  Hall,  Durfee  Hall,  and  Lawrance  Hall  of  Yale  College ;  the 
Homoeopathic  Medical  College  and  Flower  Hospital,  New  York  ;  the  Mechanics' 
and  Farmers'  Bank  at  Albany  ;  and  churches,  business  buildings,  and  residences  in 
New  York,  Albany,  Aurora,  Tarrytown,  and  Watertown,  N.  Y. ;  New  Haven, 
Farmington,  and  Litchfield,  Conn  ;  Minneapolis  and  Louisville. 

In  1878  Mr.  Sturgis  spent  some  months  in  France.  In  1880  he  retired  from 
business  on  account  of  weak  health  and  went  to  Europe.  He  resided  abroad  about 
five  years,  during  which  period  he  renewed  his  early  studies,  and  spent  much  time 
in  the  important  architectural  centres  and  cities  rich  in  collections  of  fine  art.  He 
is  a  Fellow  of  the  American  Institute  of  Architects  ;  Life  Member  of  the  American 
Numismatic  and  Archaeological  Society  ;  Honorary  Fellow  of  the  Brooklyn  Institute 
of  Arts  and  Sciences  ;    Fellow  in  perpetuity  and   Member  of  the  Corporation  of 


Preface. 

the  Metropolitan  Museum  of  Art  ;  Fellow  of  the  National  Academy  of  Design  ; 
Honorary  Member  of  the  National  Society  of  Mural  Painters.  He  is  an  active 
member  of  the  Architectural  League,  the  Grolier  Club,  and  the  Municipal  Art 
Society,  of  New  York  ;  the  Archaeological  Institute  of  America,  and  the  National 
Sculpture  Society  ;  the  Japan  Society,  and  the  Society  for  the  Promotion  of 
Hellenic  Studies,  of  London.  He  has  been  President  of  the  Fine  Arts  Federation 
of  New  York  since  its  establishment.  At  the  reorganization  of  the  Americaa 
Institute  of  Architects,  in  1868,  when,  from  a  New  York  Society,  it  became  an 
organization  with  Chapters  m  the  principal  cities,  he  was  Secretary  of  the  Institute 
while  the  elder  Upjohn  was  President  and  R.  G.  Hatfield  Treasurer.  From  the 
organization  of  the  Metropolitan  Museum  of  Art,  in  1870,  he  was  an  active  member 
of  the  Executive  Committee  for  several  years.  From  1888  he  was  President  of  the 
Architectural  League  of  New  York  for  four  terms. 

Mr.  Sturgis  has  written  much  for  periodicals,  and  has  delivered  many  public 
lectures  as  well  as  addresses  before  the  numerous  societies  with  which  he  is 
affiliated,  his  subject  being  always  connected  with  the  Fine  Arts  and  especially 
the  arts  of  decorative  design.  He  was  Editor  for  Decorative  Art  and  Mediceval 
Archaeology  of  the  Century  Dictionary  ;  Editor  for  the  Fine  Arts  of  Webster's 
International  Dictionary,  published  in  1890;  and  Editor  for  Architecture  and  Fine 
Art  of  Johnson's  U^niversal  Cyclopaedia,  edition  of  1893-95.  In  October,  1896,  was 
published  his  "  European  Architecture  :  A  Historical  Study." 

Mr.  Henry  Edward  Krehbiel  was  born  in  Ann  Arbor,  Mich.,  March  10, 
1854.  In  1874  he  became  connected  with  the  musical  department  of  the  Cincinnati 
Gazette.  In  the  College  of  Music,  Cincinnati,  organized  by  Theodore  Thomas,  he 
was  for  a  time  Professor  of  Musical  History.  In  1880,  on  the  invitation  of  the  Hon. 
Whitelaw  Reid,  he  became  Musical  Editor  of  the  New  York  Tribune  ;  his  articles 
in  that  journal  have  accredited  him  as  one  of  the  best  informed  and  soundest  of 
American  critics.  Mr.  Krehbiel  is  in  wide  acceptance  as  a  lecturer  as  well  as  a 
journalist.  In  both  capacities  he  addresses  himself  not  only  to  the  enlisted  students 
of  music,  but  to  that  much  more  numerous  public  which  desires  to  add  to  its 
pleasure  by  listening  to  music  with  intelligence.  The  guidance  sought  at  his  hands 
in  the  formation  of  libraries  for  musical  clubs  has  largely  determined  his  selections 
in  the  present  bibliography.  His  published  works  are  :  "  An  Account  of  the  Fourth 
Cincinnati  Musical  Festival  "  (1880);  "Notes  on  the  Cultivation  of  Choral  Music 
and  the  Oratorio  Society  of  New  York  "  (1884);  "  Studies  in  the  Wagnerian  Drama" 
(1891);  "  Review  of  the  New  York  Musical  Seasons,  1885-1890,"  5  vols.;  "The 
Philharmonic  Society  of  New  York:  A  Memorial"  (1892);  "How  to  Listen  to 
Music"  (1896).  In  1880  he  translated  and  edited  "The  Technics  of  Violin 
Playing,"  by  Karl  Courvoisier.  He  is  Consulting  Editor  of  "  Music  of  the  Modern 
World."  G.  I. 


CONTENTS. 


FIXE    ART.     By  Russell  Sturgis. 

Prefatory  Note  ....... 

Preliminary  Note  :  Periodicals  and  Books  in  Series 
Note  ox  Translations         ...... 

Part       I.     Books  on   Fine  Ari-    in  a  General   Sense  :    Books   of 
All   or   Manv  of   the    Fine    Arts  Associated   Together 
Archeology,  Glossaries  and  Dictionaries 
Preliminary  Note  :  Archaeology       .... 

"  "        Glossaries  and  Dictionaries 

Part     II.     Painting     and     Sculpture:       Engraving,     Etchinc 
Illustration  ..... 

Preli.minary  Note  on  Painting 
"  "        "    Sculpture 

P.\RT  III.     Architecture  and  Landscape  Gardening 
Preliminary  Note     ..... 

Part    IV.     Minor     Decorative     Arts  :      Costume,     Embroidery, 

Glass,    Inlay    and    Mosaic,  Leather  Work,  Metal 

Work,  Pottery   and    Porcelain,  Textile  Fabrics   . 

Preliminary  Note     ........ 


PAGE 


2->5 

2 
7 

15-37 

»5 

15 

38-47 

37 


48-53 
48 


MUSIC.     By  Henrv   EmvARU   Krehkiel. 

Prefatory  Note    ....... 

Part  I.     General  Histories 

"  II.     Special  Histories 

"  III.     Ancient  and  Medi/Eval  Music     . 

♦'  IV.     Folk-Song  and  National  Music 

"  V.     Musical  Biography 

"  \'\.     W.agneriana     ..... 

"        VII.     Musical  Science  and  ^F^sthetics 

"       VIII.     Musical  Criticism  and  .\nalvsis 

■•■  IX.     Encyclopaedias  and  Dictionaries 

X.     Musical  Journals 

XI.     Second-Hand  Catalogues 

Index       ......... 


54 
55 
56 
60 
61 

63 

67 
69 
70 
73 
73 
74 
75 


FINE  ART. 

A  SELECTION    FROM   ITS   LITERATURE,    WITH   NOTES,   BY 
RUSSELL  STURCIS,    A.M  ,  Pli.D  , 

Fetiorv  of  the  American  Institute  o/  Architects. 


PART     I        Books    on    Fine    Art  in  a    General   Sense:    Books  on  All   or    Many    of    the   Fine    Arts 

Associated  Together;  Arch>eologyv  Glossaries  and  Dictionaries ^ 

PART   11.     Painting  and  Sculpture.    Engraving,  Etching,  and  Illustration.   .    .                      ....  15 

PART  III.     Architecture  and  Landscape  Gardening .     .              38 

PART  IV.     Minor   Decorative  Arts:   Costume,  Embroidery,  Glass,  Inlay  and   Mosaic.  Leather  Work, 

Metal  Work,  Pottery  and  Porcelain,  Textile  Fabrics 48 


AVzf    York.  January,    1897. 


PREFATORY   NOTE. 


The  Fine  Arts  are  those  which  are  concerned 
vrith  beauty,  expression,  and  the  power  of  giv- 
ing intelligent  and  exalted  pleasure  through 
the  senses.  The  term  is  often  used  for  those 
fine  arts  only  which  appeal  to  the  eye  ;  it  is  in 
this  sense  that  it  is  used  in  these  notes. 

These  fine  arts  are  called  plastic,  or  con- 
cerned with  moulding  and  shaping  ;  and  gnip/iic. 
or  concerned  with  drawing. 

The  plastic  arts  we  call  in  general  sculpture, 
the  graphic  arts  we  call  painting,  which  term, 
howev'er.  must  be  stretched  to  include  drawing 
with  many  different  materials,  engraving,  and 
especially  engraving  made  for  printing  upon 
paper  or  other  material,  and  also  decoration  in 
mosaic  and  other  kinds  of  inlay.  These  last,  it 
will  be  noticed,  are  merely  applications  to  per- 
manent materials  and  in  a  peculiar  way,  as  by 
cutting  and  shaping,  of  the  general  principle  of 
drawing  on  flat  surfaces. 

The  Decorative  Arts  are  the  same  fine  arts 
applied  and  put  to  use  in  making  necessary 
things  beautiful.  The  chief  of  decorative  arts 
is  Architecture,  in  which  building  is  made  at- 
tractive and  interesting  by  giving  to  it  good 
form  and  good  color,  and  sometimes  by  adding 
sculpture  or  painting,  or  both,  to  the  building. 
Other  decorative  arts  are  Keramics,  Glasswork 
which  includes  Enamelling,  Metal  Work  of 
many  kinds.  Lacquering  and  other  varnish 
work,  Leather- Work  including  Bookbinding, 
and  a  multitude  of  arts  in  which  these  different 
ways  of  ornamenting  are  used  to  help  one 
another. 

It  must  be  understood,  before  one  can  go 
very  far  in  the  enjoyment  of  fine  and  decora- 
tive art,  that  it  is  generally  the  object  of  art 
itself,  and  its  own  value  as  a  work  of  art,  that 
the  artist  is  interested  in.  When  a  person 
makes  a  drawing  to  explain  something  that  he 
has  seen,   or  when  a  cut  is  put  into  a  botany 


book  to  explain  a  flower's  shape  and  make, 
that  drawing  or  cut  will  not  often  be  at  all 
valuable  as  a  work  of  art.  In  like  manner,  fine 
art  which  has  a  narrative  or  explanatory  pur- 
pose is  seldom  very  exalted  art,  and  decora- 
tive art  of  course  has  no  such  purpose.  Illus- 
tration, as  in  books  and  weekly  papers,  is  the 
best  instance  there  is  of  fine  art  which  has 
story-telling  or  incident  for  its  chief  object. 
Indeed  it  is  well  to  use  the  word  "  illustration  " 
at  once  and  generally  for  such  art.  Thus  in  a 
book  of  history  a  picture  of  Washington  bid- 
ding farewell  to  his  officers  is  illustration  in  so 
far  as  an  attempt  is  made  to  tell  the  story  and 
to  get  the  costume  right  and  the  interior  of  the 
room  right  ;  it  is  pure  fine  art  in  so  far  as  the 
light  and  shade  and  color  and  the  grace  and 
force  of  the  composition  are  concerned.  Then 
there  are  freedom  and  truth  of  gesture,  natural- 
ness of  grouping,  the  probability  of  the  atti- 
tudes and  action  of  the  personages,  all  of 
which  partake  of  both  illustration  and  fine  art, 
and  connect  the  two.  In  a  general  way  how- 
ever, it  is  true  that  artists  care  most  about  the 
form  and  color  and  composition  and  the  re- 
sulting beauty,  originality  and  interest  in  the 
picture  or  the  bas-relief.  The  student  of  art 
should  of  course  try  to  see  art  as  artists  see  it ; 
otherwise  such  student  will  remain  in  the  dark 
as  to  what  each  individual  work  of  art  means. 

PRELIMINARY    NOTE  :     PERIODICALS    AND    HOOKS 
IN    SERIES. 

In  this  catalogue,  articles  and  periodicals  are 
occasionally  named  and  very  many  more  would 
be  named  but  that  it  is  not  probable  that  many 
libraries  would  procure  sets  of  back  numbers 
of  such  periodicals.  Much  of  the  best  writing 
on  art  is  contained  in  periodicals,  but  the  articles 
in  question  are  frequently  used  afterwards  in 
book  form. 


Fine  Art. 


Books  belonging  to  several  series  of  inexpen- 
sive handbooks  are  mentioned  in  this  catalogue. 
In  the  case  of  each  of  these  series,  it  may  be 
«asier  and  nearly  as  economical  to  purchase 
the  whole  series  at  once,  and  it  will  be  found 
that  all  of  the  volumes  are  of  some  value, 
although  it  is  thought  that  the  best  of  them 
have  been  named  below. 

The  author  of  these  notes  on  books  reminds 
the  reader  that  the  titles,  etc.,  are  taken  from 
the  volumes  themselves,  and  that  although  the 
clerical  staff  of  the  American  Library  Associa- 
tion has  added  what  was  known  about  editions. 


etc.,  it  remains  always  possible  that  there  may 
exist  a  later  edition  or  a  translation  into  Eng- 
lish of  which  no  mention  is  made. 

NOTE    ON    TRANSLATIONS. 

As  the  best  books  on  fine  art  are  generally  in 
French  or  in  German,  it  is  well  to  say  that  the 
translations  of  such  books  into  English  are 
generally  very  badly  done.  It  seems  to  be 
thought  that  any  one  who  can  read  a  foreign 
language  with  a  dictionary  is  fit  to  translate  a 
technical  book.  An  effort  should  be  made  by 
librarians  to  have  the  worst  errors  noted. 


PART  I. 

BOOKS   ON    FINK  ART  IN  A   GENERAL  SENSE:    BOOKS    ON  ALL   OR  MANY    OK    THE    KINK  ARTS  ASSOCIATED 
TOGETHER  :    ARCH/BOLOGV,    GLOSSARIES,    AND   DICTIONARIES. 


PRELIMINARY    NOTE  :    ARCH.tOLOGV. 

Some  of  the  best  writing  on  fine  art  is  to  be 
found  in  treatises  on  archaeology.  It  is  limited 
10  certain  branches:  thus,  a  large  part  of  Greek 
Archaeology  is  confined  to  sculpture  and  painted 
vases.  Within  the  narrow  limits  chosen  by  the 
author  of  each  work  the  writing  is  apt  to  be 
very  exact  in  meaning  ;  and  the  appreciation 
of  the  relative  value  of  ancient  works  of  art 
and  the  classification  as  to  dates  and  schools 
are  often  very  just. 

PRELIMINARY    NOTE:    GLOSSARIES   AND    DIC- 
TIONARIES. 

Glossaries  of  technical  terms  are  always  very 
incomplete,  and  generally  poor  in  that  no  at- 
tempt has  been  made  to  give  the  exact  force  of 
the  noun  or  adjective  as  it  would  be  used  in  a 
sentence  written  bv  an  artist  or  workman  who 


was  also  an  accurate  writer.  Some  glossaries 
are  named  below.  As  most  libraries  have  good 
English  dictionaries,  it  may  be  said  here  that 
the  Century  Dictionary  contains  by  far  the 
fullest  vocabulary  of  terms  used  in  Architect- 
ure and  in  the  Decorative  Arts  of  all  kinds, 
including  Heraldry  and  Costume,  that  has  ever 
been  brought  together  ;  and,  also,  most  of  the 
important  terms  used  in  painting,  sculpture, 
engraving,  etc.  The  definitions,  moreover 
were  prepared  with  peculiar  care.  The  "In- 
ternational" Webster  Dictionary  of  1890  is  as 
careful  in  this  respect  as  the  Century,  but  only 
a  quarter  as  large  and  as  full.  "The  New 
English  Dictionary  on  Historical  Principles," 
published  in  New  York  by  the  Macmillan  Co., 
may  be  expected ,  of  course,  to  contain  every  word 
which  is  properly  considered  English  and  with 
the  definition  explained  and  strengthened  by 
quotations  of  many  epochs. 


Atkinson,  J.  Beavington. 

An  Art  Tour  to  Northern  Capitals  ok 
Europe.  N.  Y.,  Macmillan,  1S73,  S3. 
The  description  of  a  journey  through  Copenhagen, 
Christiania,  Stockholm,  St.  Petersburg,  and  other 
Northern  cities.  The  author,  who  writes  on  art  for  the 
Saturiiar  Revieiv,  the  Port/olio,  and  other  English 
journals," which  give  attention  to  the  fine  arts,  has  made 
a  careful  study  of  those  works  of  art  in  the  Northern 
Galleries  which  he  thinks  especially  worthy  of  atten- 
tion. He  is  far  from  being  an  ideal  critic  01  art;  he  is 
unfortunately  conservative  in  several  ways;  the  dicta 
contained  in  these  pages  are  to  be  received  as  the  pri- 
vate opinions  of  a  man  who  holds  his  opinions  a  little 
too  seriously  ;  but  yet  it  is  possible  to  learn  from  these 
pages  what  rank  an  important  picture  in  a  Northern 
Museum,  little  known  to  foreigners,  holds  among  the 
other  works  of  an  artist  or  of  his  school.  Concerning 
buildings  and  their  decoration,  too,  the  facts  may  be 
trusted  ;  they  are  expressed  in  an  intelligible  way,  al- 
though the  conclusions  may  be  very  rash.  It  is  on  the 
whole  a  useful  book  for  any  one  who  will  be  cautious 
in  accepting  its  artistic  criticism.  014 


Babelon,  Ernest. 

Arciieologie  Orientale.     [Biblioth^que  de 
I'enseignement  des  beaux  arts.     (Hereafter 
abbreviated   as    B.E.B.A.).]     Paris,   Quan- 
tin,  5  fr.     Translated  and  enl.  by  B.  T.  .\. 
Evetts  as  Manual  ok  Oriental  Antiqui- 
ties.    N.  Y.,  Putnam,  1SS9,  S3. 
A  good  book  by  a  recognized  authority.     By  Ori- 
ental Antiquities  are  meant  those  of  Babylonia,  As- 
syria,   Chalda:a,    Ancient    Persia,   and    other   Asiatic 
countries  of  remote  antiquity.     Remains  of  architect- 
ure and   sculpture,  engraved  gems,  metal-work,  etc., 
are  briefly  but  intelligently  treated.  913.3 

Bayet,  Charles. 

Precis  d'Histoire  de  l'Art.     Paris,  Quantin, 

1S94,  5  fr. 

Any  attempt  to  write  a  general  history  of  art  invites 
inquiryas  totheplan  to  be  pursued,  and  this  is  peculiar- 


Fine  Art. 


3 


ly  the  case  when  the  historian  is  limited  to  145  small 
pages,  which  space  must  also  include  iii  figures.  It  is 
very  doubtful  whether  such  work  can  nave  any  value 
beyond  that  of  oflferine  casual  suggestions  to  the  reader. 
The  present  one  is  at  least  written  by  a  man  admirably 
fitted  by  his  life-long  studies  for  the  work  he  has  under- 
taken. 709 

LArt  Bvzantin.  (B.E.K.A.)  Illus.  Paris. 
Quantin,  5  fr. 

Byzantine  architecture  is  that  which  began  in  the  V. 
century  in  the  eastern  half  of  the  great  Roman  Empire 
and  continued  to  flourish  in  the  Byzantine  Empire  until 
its  destruction  by  the  Crusaders  in  the  XIII.  century, 
even  continuing  after  this  until  the  Turkish  conquest  of 
1453.  It  was  unfortunate  in  the  fact  that  it  prevailed 
only  in  an  empire  whose  territory  was  constantly 
diminishing  and  which  was  finally  overrun  by  bar- 
barians Its  architecture  had  no  development  except 
in  the  inferior  styles  of  the  Mohammedan  nations. 
Its  painting  and  decorative  art  influenced  Italy  on  one 
side  and  Russia  and  the  East  on  the  other,  but  had  no 
separate  growth  ;  sculpture  it  never  possessed  in  a  high 
sense,  as  the  art  began  after  classical  sculpture  was 
dead  and  had  not  time  to  develop  a  new  art  as  the 
western  nations  did.  This  is  a  fascinating  and  little 
known  field  of  study  and  Mr.  Bayet's  little  book  is  a 
worthy  introduction  to  it.  708.9 

31anc,  Charles. 

Les  Artistes  de  mon  Temps.     Paris.  Firtnin- 
Didoi.  1S76,  iS  fr. 
Biographies  of  18  artists  whom  the  author  had  known 

Eersonally  with  the  single  e.xception  of  the  medalhst 
tupr^,  for  whom  see  under  Saunier  in  Part  IV.  The 
sculptors  David  d' Angers  and  Barye,  the  painters 
Eugene  Delacroi.x,  Henry  Leys,  Flandrin,  Troyon, 
Regnault,  and  Corot,  the  architect  F^lix  Duban  and 
several  other  artists  worthy  to  rank  with  these,  or  at 
least  to  be  considered  within  the  scope  of  the  same 
pages  with  them,  are  treated  with  a  certain  semi- 
critical  justness  which  is,  perhaps,  as  instructive  to  the 
student  of  history  of  art  as  more  elaborate  critical 
analysis  would  be.  There  are  a  number  of  useful  illus- 
trations. 927 

Grammaire  pes  Arts  nr  Dessin-  Architect- 
ure. Sci'LPTfRE,  Peintvre.  3™*  cd.  Paris, 
Henri  Laurens,  13  fr. 

The  works  of  this  author  are  in  a  sense  perfunctory  ; 
one  does  not  go  to  him  for  stimulating  criticism  or  bold 
and  incisive  views.  They  are  generally  trustworthy, 
written  by  a  hard-working  man  to  whom  all  modern 
French  culture  and  much  of  foreign  thought  were  ac- 
cessible. This  work  and  the  "  Grammaire  des  Arts 
Decoratifs"  form  one  analytic  history  of  art  which  is 
well  worth  study.  701 

Boissier,  Gaston. 

Rome  and  Pompeii  :  Arch/Eological  Ram- 
bles. Transl.  by  D.  Havelock  Fisher. 
With  maps  and  plans.  N.  Y.,  Putnam. 
1896,  S2.50. 

Though  not  exclusively  devoted  to  the  question  of 
fine  art,  this  book  contains  verj*  judicious  treatment  of 
the  artistic  subject  which  can  in  no  way  be  separated 
from  the  study  of  the  rums  of  Rome  and  Pompeii  Mr, 
Boissier  is  a  student  who  keeps  himself  as  thorouglily 
informed  of  accurate  and  scientific  discovery  as  if  he 
were  an  archaeologist  by  profession.  The  account 
given  in  this  book  of  the  doings  of  the  professional 
archaeologists  and  explorers,  from  the  early  hunters  for 
statues  to  whom  we  owe  so  much  of  the  destruction  of 
fine  old  buildings,  to  the  modern  thorough  and  careful 
student,  forms  one  of  the  most  interesting  parts  of  this 
volume.  913 

The  Country  of  Horace  and  ViRr.n.. 
Transl.  by  D.  Havelock  Fisher.  With 
maps  and  plans.  N.  Y.,  Putnam,  1S96, 
$2.50. 

See  what  is  said  of  this  author  in  next  preceding  note. 

913 
3oullier,  Auguste. 

L'Ak  I  Vemukn  :  Architecture.  Scci.PTrRE. 

Peinture.     Paris,  E.  Dentu,  1S70.     Out  <>f 

print. 

This  essay,  although  intended  merely  to  form  part  of 
a  political  histor>'  of  Venice,  is  full  o'  intelligent  per- 
ceofion  of  the  true  qualities  of  its  art.  708.5 


Brownell,  William  O. 

French  Ari'.     N.  Y..  Scribner,  1S92.  $1.25. 

Although  devoted  to  the  criticism  of  recent  French 
fine  art,  the  general  principles  which  govern  all  fine  art 
are  so  clearly  expressed,  so  strongly  and  consistently 
urged  that  this  book  in  it.sclf  may  do  much  to  e.xplain 
what  a  work  of  art  is  in  the  mind  of  its  creator,  and 
also  how  his  fellow-artists  look  at  it.  There  is  no  bet- 
ter criticism  to  be  found.  It  is  a  book  of  the  highest 
class.  709.44 

French     Traits.      N.    Y..    Scribner.    18S9. 

5-(-4ii  p.  D..  $1.50.     Meadville,  Pa..  Flood 

iNc   Vincent  (Chautauqua  ser.),  44-316  p.  D. 

Si. 

See  the  chapter  "  The  Art  Instinct  "  and  see  what  is 
said  in  note  next  foregoing  of  a  work  by  the  same 
author.  812 

Brunn,  Heinrich. 

CiKiECHiscHE  Kcnstc.esciiichte.  I.  Die  An- 
fange  und  die  altestc  dekorative  Kunst. 
Milnchen,  Verlagsanstalt  fUr  Kunst  und 
Wissenschaft.  1893,     Marks  7.50. 

The  first  part  of  a  proposed  complete  histor>'  of 
Greek  art  which  the  late  Heinrich  Brunn,  the  recognized 
chief  of  classical  archaeologists,  desired  to  write. 
The  carrying  forward  of  his  work  was  continually  de- 
ferred because  of  the  rapid  increase  of  the  sources  of 
our  knowledj^e.  At  length  Brunn  ventured  to  write 
this  introduction  to  the  subject  in  the  form  of  a  history 
of  the  early  archaic  styles.  This  book  will  be  a  slana- 
ard  for  years  to  come.  709,38 

Bum,  Robert. 

Ancient  Rome  and  Its  N'EioHnoRHOon.  II- 
lus.  Lond..  Geo.  Bell  &  Sons;  N.  Y.. 
Macmillan,  §2. 25. 

This  little  book,  though  less  detailed  and  full  and  less 
appreciativeof  questions  of  fine  art  than  Mr.  Middleton's 
"Remains  of  Ancient  Rome"  is  useful  for  the  study 
of  Roman  antiquities.  **Rome  and  the  Campagna" 
by  the  same  author,  a  much  larger  book  with  many  Il- 
lustrations, was  excellent  in  its  day  but  is  in  part  obso- 
lete. 913 

Roman  Literature  in  Relation  to  Roman 
Art.  lUus.  N.  Y.,  Macmillan,  iSS?^. 
$2.25.  870 

Cellini,  Benvenuto,  Memoirs  of. 

Transl.  by  Thomas  Roscoe.     (Bohn.)     N*.  Y.. 
Macmillan,  $1.     Transl.    by   John  Adding- 
ton  Symonds.     N.  Y..  Scribner,  $2.50. 
This  celebrated  book  is  not  valuable  as  a  guide  to 
the  immediate  intelligent  knowledge  of  fine  art.   but 
gives  a  truthful  picture  of  times  of  violence  and  individ- 
ual independence  of  law  and  authority,  in  which  times 
the  great  art  of  the  XV.  and  XVI.  centuries  came  into 
being.     Mr.  Taine  has  made  much  of  this  peculiarity  of 
the  great  art  epoch  of  Italv,  as  in  some  degree  account- 
ing for  the  art  to  which  it  gave  birth.  920.04 

Chesneau,  Ernest. 

L'EincATioN  HE  L'Artiste,  Transl.  by  Clara 
Hell  as  Edccation  of  the  Artist.     N.  Y.. 

Cassell,  1SS6,  %i.     Out  of  print. 

Mr.  Chesneau  is  a  first-rate  critic,  and  this  book  con- 
tains much  matter  which  may  give  valuable  suggestions 

to  the  student.  707 

Coffin,  Wm.  A. 

The  Fink  Arts  at  the  Paris  Exrosn  ion 
OF  1889,  in  the  N.  Y.  Nation,  Vol.  XLIX.. 
nos.  1259-126S,  inclusive  (July  to  October 

1SS9). 

The    Fine    Arts    at    the    World's    Fair. 
Chicago,  1893,  in  the  A'atiou,  Yol.  LVII.. 
nos.    1466-1471,  inclusive  (August  to  Sep* 
tembcr.  1S93). 
See  what  is  said  of  this  writer  in  Part  II. 


Fine  Art. 


CoUignon,  Maxime. 

Akcheologie  GREC(jrK.  (B.E.H.A.)  Paris, 
Quantin.  5  fr.  Transl.  by  J.  H.  Wright  as 
Manual  of  Greek  Arch.^ology.  N.  Y., 
Cassell.  18S6,  ?2. 

This  book  and  Mr.  A.  S.  Murray's  on  the  same  sub- 
ject contain  all  that  any  person  except  special  students 
need  read,  except  that  this  author's  "Mythology" 
(Phila.,  Lippincott,  $3),  or  any  similar  treatise,  should 
be  referred  to.  913.38 

Colvin,  Sidney, 

Article  Fine  Art.  Encyclopaedia  Britannica, 
9th  ed. 

Full  of  pood  sense  and  just  perception.  Even  what 
seems  f-pcif  il  will  be  found  to  be  suggestive  and  to 
help  to  a  righ".  sense  of  what  fine  art  is.  The  student 
shoulJ  notice  an  error  in  speaking  ot  sculpture,  etc.. 
as  "imitative  arts."  Fine  art  should  not  be  said  to 
imitate  anything,  but  only  to  represent  or  express  what 
it  deals  with.  Indeed  there  is  no  such  thing  as  an  imi- 
tative fine  art  or  a  fine  art  of  imitation. 

Article   Art       Encvclopjedia    Britannica,   9th 

ed. 

Should  be  read  with  above-named  article  "  Fine 
Art." 

Conway,  Sir  William  M. 

Dawn  of  Art  in  the  Ancient  World:  An 
Arch.-eological  Sketch.  N.  Y.,  Macmil- 
lan,  1891,  Si. 25. 

Valuable  for  its  suggestions  as  to  the  probable  ori- 
gin of  those  artistic  types  which  have  become  so  famil- 
iar to  the  world  that  it  is  hard  to  reahze  the  necessity 
of  accounting  for  thfem.  In  such  a  book  much  must  be 
given  as  probable  which  cannot  be  proved  in  any  satis- 
factory way.  This  book  is  to  be  read  as  an  attempt  to 
bring  these  probabilities  into  shape.  It  is  valuable  as 
an  encouragement  to  independent  thought  on  the  part 
of  the  reader.  913 

Cook,  Edward  T, 

Stuoies  in  Ruskin:  Some  Aspects  of  the 
Work  and  Teaching  of  John  Ruskin.  With 
reproductions  of  drawings  by  Mr.  Ruskin 
in  the  Ruskin  Drawing  School.  Oxford. 
Illus.     Lond.,  George  Allen,  iSgo,  5s. 

That  part  of  this  book  which  is  devoted  to  the  art 
writings  of  Ruskin  may  be  compared  with  the  work 
cited  under  Waldstein.  Mr.  Cook's  work  approaches 
the  writings  of  Ruskin  irom  the  side  of  general  appro- 
val and  admiration.  824.86 

De  Forest,  Julia  B. 

Short  History  of  Art.  N.  Y.,  Dodd,  Mead 
cV'  Co..  §2. 

A  popular  account  of  works  of  art  of  the  better 
known  varieties.  It  is  much  sounder  in  its  criticism  and 
more  generally  trustworthy  than  some  similar  compila- 
tions, but  contains  serious  errors,  such  as  the  general 
information  given  as  to  Delia  Robbia  work,  in  which 
the  very  large  and  elaborate  pieces  are  ignored,  and  an 
unsuitability  ot  the  material  to  these  is  asserted  .  and 
such,  also,  as  the  wholly  inaccurate  account  of  Gothic 
vauhing.  709 

De  Goncourt,  Edmond  and  Jules. 

L'Art    iiu    XVIII.    SifecLE.       Paris,    Dentu. 

1S68,  2  V.      Out  of  print. 

The  two  brothers  De  Goncourt  were  collectors  of 
the  fine  and  decorative  art  of  the  XVllI.  century,  and 
they  were  also  the  authors  of  semi-historical  works  de- 
voted to  that  period.  They  had  a  very  accurate  and 
close  sense  of  the  value  of  that  art  and  their  writing 
upon  it  has  critical  value.  The  edition  of  this  book 
named  above  is  inexpensive  ;  there  is  also  an  edition  of 
1882  with  many  plates  and  forming  two  large  octavos. 

The  art  of  the  XVIII.  century  is  more  artificial  and 
more  the  creature  of  a  lu.xurious  society  than  most  of 
that  fine  art  which  is  in  any  way  estimable.  It  has 
been  the  custom,  especially  among  English-speaking 
people,  to  despise  both  the  architectural  and  the  ex- 
pressional  art  of  that  time,  but  it  has  great  merit  and 
the  brothers  De  Goncourt  deserve  much  of  the  credit 
of  having  introduced  it  to  modern  critical  study.     This 


book  is  confined  to  the  study  of  a  dozen  of  the  more 
celebrated  painters  and  draughtsmen  of  the  time,  from 
Watteau  to  Prudhon.  709 

De  Laborde,   I.c  Comd-  Alexandre. 

L.\  Rf.naiss.vnce  i>ks  Arts  a  la  Cour  de 
Franck.  i6"'«  Si£cle.  Paris.  Potier,  1855, 
2  v.,  24  fr. 

Great  and  sudden  changes  in  the  condition  of  the 
fine  arts  in  any  nation  have  been  rare  and  their  history 
IS  generally  extremely  obscure  and  wholly  impossible 
to  grasp  in  Its  details.  Either  it  has  taken  place  at  a 
time  when  historical  record  was  impracticable  or  else 
the  records  have  perished.  For  these  reasons  the  very 
singular  change  in  the  spirit  of  art  in  France  in  the 
reigns  of  Charles  VIII.  and  Louis  XII.,  and  the  cul- 
mination of  the  change  under  Francis  I.,  is  worthy  of 
close  attention  and  even  the  seemingly  unimportant 
facts  cited  in  parts  of  these  volumes  have  their  value 
as  enabling  the  reader  to  grasp  the  true  order  and  sig- 
nificance of  events.  To  those  who  like  to  approach  the 
study  of  art  from  the  historical  and  analytical  side, 
these  volumes  are  extremely  valuable.  Compare  what 
IS  said  of  the  books  by  MiJntz  and  Mrs.  Pattison.    709- 

Delaborde,  Henri. 

Eti'des  sir  les  Beal'x-Arts  ex  France  et 
EN  Italie.      Paris,  J,  Renouard,  1S64,  15  fr. 

This  author  [has  devoted  himself  especially  to  the 
study  of  engraving  as  his  official  position  requires,  but 
his  knowledge  of  European  art  since  the  Middle  Ages 
IS  varied  and  profound,  and  it  is  good  to  have  the  studies 
upon  art  of  writers  who  approach  it  from  different 
points  of  view.  709 

Dennie,  John. 

Rome  ok  To-Day  and  Yesterday.  3d  ed.. 
with  5  maps  and  plans,  and  58  illustrations 
from  photographs.  N.  Y..  Putnam,  1S96, 
54. 

A  square  octavo  of  nearly  400  pages  with  a  full 
index.  The  text  is  of  the  general  character  of  a  guide- 
book made  interesting  by  sympathetic  treatment.  It 
can  be  read  aloud  continuously;  this  is  hardly  true  of 
Middleton's  or  Raber's  book,  so  that  although  the 
present  work  pretends  to  no  originality  oi  research,  it 
gives  a  great  deal  of  information  concerning  the  splen- 
did monuments  of  classical  Rome,  913 

Dennis,  George. 

Cities  and  Cemeteries  of  Etruria.     Lond., 

John  Murray-.  1S78,  2  v.,  2is. 

The  little  known  and  very  puzzling  art  of  the  ancient 
Etruscans  is  treated  in  this  book  in  the  more  desultory 
way  of  geographical  exploration.  To  be  compared 
with  the  more  orderly  and  more  technical  booKs  by 
Jules  Martha.  913 

De  Pouvourville,  Albert. 

L'Art  Indo-Chinois.  (B.E.B.A  )  Paris, 
Quantin,  5  fr. 

The  arts  of  the  great  peninsula  which  our  old  geog- 
raphy books  called  Farther  India  have  been  little  studied 
except  by  the  French  ;  the  museums  of  Europe,  other 
than  the  Louvre,  have  few  specimens  of  these  arts. 
The  author  of  this  little  book  does  not  pretend  to  have 
studied  these  arts  in  the  lands  of  Burmah,  Siam.  Anam, 
Cambodia,  and  Tonqum,  but  he  has  studied  the  monu- 
ments which  exist  in  Europe  and  the  works  of  those 
who  have  made  a  minute  and  fuller  examination  of  the 
architecture,  sculpture,  and  decorative  objects  left 
from  the  ancient  civilization  of  these  realms  or  made 
by  the  modern  inhabitants.  These  arts  are  important 
in  themselves  and  will  be  doubly  important  in  all  thor 
ough  study  of  Chinese  and  Japanese  art.  708.9 

Diehl,  Charles. 

L'Art  Byzantin  dans  l' Italie  Meridio- 
nale.  Paris,  Librairie  de  I'Art,  1894,  15  fr,. 
Embodies  an  examination,  previously  unaitempted,. 
of  the  Byzantine  wall-paintings  in  southern  Italy  and 
Sicily,  It  IS  most  interesting  reading;  and  although 
the  '^tudy  in  detail  of  these  little  known  pictures  would 
lead  the  student  far  into  the  as  yet  half  understood  his- 
tory of  mediaeval  art.  yet  everything  that  can  add  to 
his  sense  of  the  importance  of  the  art  of  the  Eas. .;rn 
empire  should  be  insisted  on.  See  what  is  said  about 
the  books  by  Bayet  and  Essenwein,  708.9' 


Fine  Art. 


Excursions  in  Greece  to  Recently  Ex- 
plored Sites  ok  Classical  Intkresi-. 
Transl.  by  Emma  R.  Perkins.  Lond.,  II. 
Grevcl  &  Co.;  N.  Y.,  Lemcke  &  buechner, 
1S93,  §2. 

As  a  help  to  the  study  of  Grecian  art  a  knowledge 
of  the  archaeological  explorations  irom  which  our  re- 
cent increase  in  knowledge  has  sprung  is  very  valu- 
able. The  translation  in  this  case  is  voucheo  for  by 
competent  authority  as  being  well  done.  The  author 
is  a  very  scholarly  and  thorough  writer.  See  what  is 
said  of  his  other  works.  013.38 

DUke,  Lady. 

-Art  in  the  Modern  State.  Lond.,  Chap- 
man &  Hall,  iSSS,  9s. 

Lady  Dilke  is  the  Mrs.  Mark  Pattison  whose  works 
are  cited  elsewhere.  In  this  book  she  undertakes  to 
describe  the  first  appearance  in  the  modern  world  of  a 
highly  centralized  system  of  nne  art  fostered  by  the 
government  and  turned  alike  to  industrial  and  purely 
artistic  uses  with  deliberate  purpose.  The  historical 
conditions  of  the  time  are  explained  at  length  and  the 
conclusions  of  the  book  may  be  trusted,  although  there 
IS  a  natural  e.xaggeration  to  be  noticed  in  what  is  said 
of  the  historical  tendencies  and  the  artistic  tendencies, 
alike.  The  Protestants  were  not  put  down  by  Richelieu 
because  they  were  Protestants,  but  because  thev  desired 
an  imperium  in  imperio  (page  7) :  the  art  of  France 
under  Louis  XIV.  was  not  all,  ornearly  all  "  royal,"  nor 
was  the  king  the  only  employer  of  artists  in  France 
(page  52).  701 

Dohme,  Robert. 

KUNST     UND     KUNSTLER      PES      MlTTELALTERS 

UND    DER    Neuzeit.       Leipzig,     Seemann. 
1877-86,  6  v.,  80  marks. 

This  valuable  treatise  on  mediaeval  and  modern  art 
is  divided  into  Part  1  •  Germany  and  the  Netherlands, 
Part  II.:  Italy  (occupying  3  vols.):  Part  III  Spain, 
France,  and  England  ;  Part  IV.  The  first  half  of  the 
XIX.  century.  It  is  very  much  to  be  desired  that  this 
book  be  translated  into  English.  701 


D'Ooge,  Martin  L. 

The  AcRoroLis  of  Athens.     Illus.     N.  Y., 

Macmillan.     Announced  without  date. 

The  author  is  Professor  of  Greek  in  the  University 

of  Michigan,  and  was  Director  of  the  American  School 

of  Classical  Studies  at  Athens  during  1886-87.    013.38 


Dresser,  Christopher. 

Jai'AN  ;  Its  Architecture,  Art.  and  Art 
OF  Manufactures.  Lond..  Longmans,  1S82. 
Out  of  print. 

The  work  of  a  traveller  rather  than  of  an  expert, 
but  the  work  of  an  enthusiastic  lover  of  Japanese  art  ■ 
as  It  IS  interesting  reading,  it  will  lead  toward  an  ap- 
preciation of  more  exhaustive  and  more  accurate 
treatises.  709.52 

Dyer,  Thomas  H. 

On  Imitative  Art,  Its  Principles  and  Prog- 
ress, with  preliminary  remarks  on  Beauty. 
Sublimity,  and  Taste.     Lond.,  George  Bell 
^:  Sons,  1^82.     Out  of  print. 
From  this  book    can   be  obtaine.d    a    considerable 
knowledge  of  what  e.\ists  and  what  is  known  to  have 
existed  tn  the  way  of  works  of  fine  art.    The  received 
opinions  of  several  generations  are  summed  up  in  it  in 
a  sufficiently  intelligible  way.    There  is  no  great  origi- 
nality of  perception  and   little  or   no  discrimination 
shown  :  the  only  index  is  that  of  the  works  mentioned 
arranged  under  geographical  heads.     A  book,   there- 
fore, to  read  with  a  view  of  gaming  knowledge  of  cer- 
tain well-ascertained  facts.  701 


Dmerson,  Alfred 

Editor  and   reviser       Article    Arch^ologv, 
son's  Universal  CycloptEdia.     Edition  1893-95. 


John- 


Erman.  Adolph. 

Like  in  ANiiKsr  Ecvrr.     Transl.  by   Ilclcnr 

Mary    Tirard.       Illus.     N.   Y.,    Macmillan. 

1894,  $6. 

A  knowledge  of  the  religion,  customs,  dress,  etc., 
of  the  ancient  Egyptians  is  necessary  for  even  a  slight 
understanding  of  their  art.  which  without  it  remains  an 
unmeaning  and  comparatively  unimportant  decoration. 
This  b(jok  may  be  commended  although  ihc  original 
text  dales  from  1889.  The  discoveries  of  the  last  few 
years  are  of  singular  importance  ;  we  may  reasonably 
expect  to  see  new  editions  of  ihis  work  which  will  con- 
tain their  results.  In  the  meantime  this  is  the  best  work 
of  the  kind  existing,  always  excepting  those  by  Mas- 
pero  which  have  their  peculiar  value.  932 

FSrater,  Ernst. 

DeNKMALE  DEUTSCHER  BaUKUNST,  BlI.nNEREI 
UNU  MaLEREI.  v.  I).  EiNFOHRl'Nr,  DES  ChRIS- 

tenthums  his  auf  die  neuste  Zeit.  Illus. 
Leipzig.  F.  O.  Weigcl.  12  v..  600  marks. 
(French  translation,  published  Paris.  1S66. 
out  of  print.) 

The  recognized  monuments  of  Germany,  of  the 
Middle  Ages,  and  later  times  aown  to  the  beginning  of 
the  present  century,  are  given  here  with  sufficient  ful- 
ness and  with  a  text  of  sufficient  analytic  value  to  make 
the  book  of  importance  and  to  meet  the  requirements  of 
many  students  in  regard  to  Germany  for  those  epochs. 

913.4a 

Frizzoni,  Gustavo. 

Arte  I  iai.j.wa  pel  Rinascimento,  Sagci 
CRiTici.  Milan.  Dunmlard,  iSgi.  11  lire. 
See  what  is  said  under  Cavallucct  and  Selvatico  of 
the  desirabihty  of  getting  Italian  thought  about  Italian 
art.  The  present  work  is  more  critical  than  either  of 
the  others.  709- 

Fromeutin,  Eugene. 

See  his  treatises  on  painting.  Part  H..  in  which 
the  true  principles  of  fine  art  are  admirably  explained. 

Frothingham.  A.  L..  Jr. 

Christian  Rome.  Illus.  N.  Y.,  Macmillan. 
Announced  without  date.  Early  mediaeval  archxol- 
ogy  IS  Prof  Frothingham's  specialty;  he  has  resided 
long  in  Rome,  first,  as  a  student  and  lately  in  connec- 
tion with  the  American  School  of  Archaeology.    945.6 

Gambler,  Parry  T. 

Ministry  <'F  Fine  Art  'io  the  Hapimness  of 
Life.  Lond..  Murray,  1SS6.  14s. 
Remarkable  as  being  the  work  of  one  of  the  very- 
few  amateur  or  non-professional  artists  whose  artistic 
work  isof  any  extent  or  value.  Mr  Gam  bier  was  a  land 
owner  and  man  of  wealth  who  did  a  great  deal  of 
mural  painting,  and  who  was  largely  instrumental  in 
introducing  the  "  spirit-fresco  "  process  The  paper  on 
"  The  Adornment  of  Sacred  Buildings  "  is  to  be  read  in 
connection  with  Lord  Lindsay's  Christian  Art.  Thai 
on  Gloucester  Cathedral  is  an  interesting  archaeological 
essay  showing  the  reader  what  problems  and  debatable 
questions  even  a  minor  ancient  cathedral  church  may 
give  rise  to.  The  paper  on  Colour  and  Sculpture  is 
nearly  superseded  by  later  and  mure  learned  work 

701 

Gardner,  Percy. 

New  Chapters  in  Greek  History  :  Histori- 
CAi,  Results  of  Rkceni-  Excayations  in 
Greece  ANu  Asia  Minor.  Lond.,  Murray. 
1S92,  15s. 

The  account  of  the  recent  discoveries  made  on  the 
Athenian  Acropolis,  at  Olympia,  and  at  Epidaurus, 
are,  perhaps,  the  most  interesting  papers  in  this  vol- 
ume, but  the  general  discussions  entitled  "The  V^eriti- 
cation  of  Ancient  History,"  "  Eleusis  and  the  Myste- 
ries," *'  Ancient  Cyprus,"  and  especially  "  Recent 
Discoveries  and  the  Homeric  Poems"  are  also  of 
great  value.  As  the  whole  work  is  based  upon  the  new 
discoveries  made  in  the  excavation  and  examination  of 
ancient  cities,  it  is  clear  that  ever/  part  of  it  bears, 
directly  on  the  histor>'  of  fine  art. 

Reviewed  in  Am.  Jt.  0/ Arch<rolosy,  April,  June 
1893.  913. 3& 


Fine  Art. 


Oayot,  Albert. 

L'Art  Arabe.  (I3.E.B.A.)  Paris,  Quantin. 
1S93,  5  fr. 

This  book  differs  from  the  others  of  the  same  series 
in  not  beingr  a  conservative  treatise  based  upon  recog- 
nized authority  and  containmg  statements  well  verified 
and  criticism  which  may  be  readily  accepted.  It  is  a 
serious  attempt  to  discover  an  origin  for  the  Moham- 
medan art  of  Egypt  and  Syria,  and  a  meanmg  in  that 
art ;  in  this  way  it  is  a  first  step  in  a  new  field  of 
thought.  The  reader  is  to  accept  it  for  what  it  is  and 
to  realize  that  the  archseolo^'ical  critics  and  the  students 
of  human  behef,  ahke,  will  find  immeasurable  fault 
with  the  author's  conclusions  and  his  ways  of  reaching 
them.  This  is  the  beginnmg  of  a  controversy  from 
which  well  ascertained  trutn  may  be  expected  to 
■emerge. 

Reviewed  Am.Ji.  of  Archt^ology^  Vol.  IX.,  p.  557. 

709 

L'Art  Persan.     ^B.E.B.A.)     Paris,  Quantin, 

1S95.  5  fr. 

Continues  the  curious  inquiry  begun  in  the  same 
author's  book  "L'Art  Arabe."  The  same  desire  to 
get  at  the  Oriental's  point  of  view,  and  to  find  out  what 
he  thought  of  his  own  works  of  art  and  what  he  tried  to 
express  in  them,  is  the  good  side  of  this  examination. 
The  less  good  side  is  the  bold  assumption  of  the  truth 
of  many  propositions  which  can  neither  be  proved  nor 
even  demonstrated.  709 

Oonse,  Louis. 

L'Art  Gothique  :  l'Architecture,  la  Peix- 
TURE,  LE  Decor,  la  Sculpture.  Paris, 
Quantin,  100  fr. 

This  beautiful  volume  is  devoted  exclusively  to  the 
development  of  Gothic  architecture  and  of  the  wall- 
painting,  stained-glass,  furniture,  and  more  portable 
decorative  work  which  had  that  architecture  for  its 
stimulus  and  guidance.  Gothic  architecture  is  prima- 
rily French,  of  the  old  royal  domain,  governed  by  the 
Kings  of  France  in  the  XII.  century,  and  of  the  prov- 
inces immediately  dependent  upon  It ;  but  there  is  a  most 
valuable  derived  art,  contemporaneous  with  it  in  the 
other  countries  of  western  Europe.  This  work  is 
rather  too  exclusively  French  and  one  must  go  to  other 
woilts  for  a  knowledge  of  English,  German,  and  other 
variants  of  the  Gothic  style ;  but  the  essential  charac- 
teristics of  the  style  both  in  building  and  in  the  minor 
decorative  arts  are  better  studied  in  French  e.xamples 
than  in  others.  The  illustrations  are  of  very  great 
value  but  without  a  sufficient  number  of  plans.        709 

L'Art  Japonais.     Paris,  Quantin,  1SS3,  2  v.. 

200  fr. 

The  most  richly  illustrated  of  all  the  works  on  Jap- 
anese decorative  art ;  it  is  like  having  a  collection  of 
lacquers  and  bronzes,  carvings  and  swords,  to  possess 
these  beautiful  prints,  both  black  and  in  color.  The 
text  is  generally  that  of  the  cultivated  European  who 
has  collected  and  studied  Japanese  works  of  art  in  Eu- 
rope. In  the  chapter  on  painting  an  attempt  was  made 
to  describe  the  different  schools  and  the  general  prog- 
ress of  the  art.  For  this  the  writer's  knowledge  is  en- 
tirely inadequate.  It  seems  not  to  have  occurred  to 
him  that  there  would  necessarily  be  a  vast  deal  of  in- 
formation inaccessible  to  him  in  France.  Here  also, 
however,  the  illustrations  are  of  importance. 

See  next  title  and  note.  709.52 

L'Art  Japonais.  (B.E.B.A.)  Paris,  Quan- 
tin. 5  fr. 
Transl.  by  M.  P.  Nickerson as  Japanese  Art. 
Morrill,  Higgins  &  Co.,  Chicago,  published 
this  book  in  iSg2,  at  $2.  Publishers,  Jan., 
1897.  unknown. 

A  small  handbook  by  the  author  of  the  larger  work 
bearing  the  same  title.  See  what  is  said  of  that  larger 
work.  In  the  prefatory  chapter  to  this  small  book  the 
author  acknowledges  the  great  advance  which  has  been 
made  in  the  study  of  Japanese  painting,  and  the  criti- 
cisms made  by  others  upon  his  own  work,  without  ill- 
nature  or  protest.  The  chapter  in  the  small  book  on 
Japanese  painting  should  be  read  as  a  revised  edition 
of  that  in  the  larger  book.  709.52 

Ooodyear,  William  H. 

Renaissance  and  Modern  Art.  Meadville, 
Pa.,  Flood  &  Vincent,  1S94,  $i.  709 


Roman  and  MedlevalArt.     Meadville,  Pa., 
Flood  iS:  V'incent,  1S94,  ?i. 

Professor  Goodyear  is  an  archaeologist  of  training  and 
ability,  who  in  the  more  favorable  surroundings  of  a 
European  country  would  probably  have  become  widely 
known  for  discovery  and  critical  labors.  Even  under 
very  untoward  circumstances  he  has  added  much  to 
our  knowledge,  as  for  instance  in  his  minute  study  of 
the  delicate  proportions  of  buildings  of  great  art  epochs. 
These  books  are  therefore  to  be  read  seriously.  They 
are  faulty  in  that  the  author  confuses  merely  technical 
skill,  in  fine  art,  with  artistic  power.  On  this  account 
he  is  compelled  to  give  to  subject-matter— that  is,  the 
thing  or  things  represented  in  a  picture  or  work  of 
sculpture— far  more  weight  than  the  artists  themselves 
would  admit  that  it  had.  Even  a  reli^ious-minded 
man  like  Michelangelo  would  have  painted  figures 
from  Roman  and  Greek  mythology  with  precisely  the 
same  power  and  success  that  he  attained  in  the  story  of 
Genesis  in  the  Sistine  Chapel.  He  might  have  refused 
to  undertake  it;  there  his  feelings  as  a  good  Catholic 
would  have  their  way,  but  the  work  once  begun  would 
have  been  carried  out  with  his  full  strength.  As  soon 
as  he  began  to  paint  he  would  have  forgotten  every- 
thing else  because  of  his  absorption  in  the  ^oork  o/art: 
It  is  that  and  not  religion,  nor  morality,  nor  philosophy 
in  the  common  sense,  nor  truth  to  nature  except  as  ex- 

fressible  in  art,  that  the  artist  cares  for  while  he  works, 
t  was  so  with  Michelangelo's  contemporary,  Raphael : 
he  painted  large  frescoes  in  one  and  the  same  room, 
one  of  them  devoted  wholly  to  the  mysteries  of  the 
Catholic  faith,  the  so-called  Dispute  :  the  others  to 
wholly  non-religious  subjects,  viz. .  the  "  School  of  Ath- 
ens "  and  the  *' Poetry  "  with  Apollo  presiding  over  it . 
and  these  are  his  most  important  works,  indistinguish- 
able in  merit.  Indeed,  Michelangelo's  own  "Dawn" 
and  "  Twilight,"  and  the  portraits  of  the  Medicean 
dukes  all  attached  to  the  famous  tombs  at  San  Lorenzo 
in  Florence,  have  called  forth  his  full  strength,  ana  are 
at  least  equal  to  his  Risen  Christ  or  his  Pieti  at  Rome. 

709.37 
Grimm,  Hermann  F. 

Life   of   Michael   Angelo.      Bost..    Little, 
Brown  &  Co.,  1896.  2  v.,  %t. 

Not  the  most  sympathetic  nor  the  most  critical  of 
the  many  lives  of  Michelangelo,  but  containing  a 
great  deal  of  research  and  brought  down  to  date  as  to 
the  facts.  The  new  edition,  dated  1896,  in  two  vols., 
contains  about  40  photographic  illustrations  taken  from 
the  works  of  the  master  and  generally  satisfactory.  1 1 
will  be  noticed  that  40  pictures  devoted  to  one  man's 
work  IS  a  fairly  representative  showing.  920 

Grosvenor,  Edwin  O. 


lllus. 


Bost.,     Roberts, 


Constantinople. 

1S95,  2  v..  Sio. 

Only  in  part  devoted  to  the  monuments  of  Constan- 
tinople ;  the  treatment  of  them  is  not  exactly  that  of  the 
student  of  art.  The  monuments,  however,  are  of  such 
extraordinary  importance,  and  are  so  little  known,  that 
even  inadequate  treatment  is  valuable  to  all  students. 
The  reader  should  be  warned  against  accepting  the 
arch  Ecological  statements  as  equally  correct ,  some  are 
very  doubtful.  914.961 

Gruyer,  F.  A. 

Les  Oeuvres  d'art  de  la  Renaissance 
italienne  au  temple  de  Saint-Jean,  Bap- 
tisterede  Florence.  Paris,  Loones,  1875, 
10  fr. 

This  very  ancient  building  has  received  continual 
additions  and  adornments,  and  those  of  the  XV.  and 
XVI.  centuries  are  described  in  this  book.  The  his- 
tory of  a  simple  structure,  constantly  added  to  by  rich 
and  varied  works  of  art.  which  is  the  history  of  so 
many  now  splendid  buildings  of  Europe,  is  extremely 
suggestive  to  the  student.  700 

Hamerton,  Philip  G. 

Thf    Intellectual    Life.       Bost.,    Roberts. 

75  c.  or  $2  ;  paper,  50  c. 

Not  a  treatise  on  fine  art,  but  valuable  because 
insisting  on  the  relation  of  the  graphic  arts  to  litera- 
ture and  study.  The  fine  arts  generally  occupy  hltle 
space  in  "  the  intellectual  hfe  "  of  most  scholars  and 
students.  Most  writers  on  subjects  of  human  intelli- 
gence and  Its  labors  and  pleasures  know  very  little  of 
the  fine  arts  and  misunderstand  them  :  for  which  reason 
this  and  other  books  by  men  who  approach  the  consid- 
eration of  such  subjects  from  the  side  of  fine  art  are 
very  valuable  to  the  student.  825 


Fine  Art, 


THorcHTS  Aboi'T  Art.     Host.,  Roberts.  $2. 

This  book,  which  formed  originally  part  of  *'The 
Painters' Camp,"  is  worth  reading  because  of  its  suj^- 
gestiveness.  Tlius,  some  of  the  various  ways  in  which 
different  painters  underMke  their  work  are  made  clear 
in  the  chapters  "Painting  from  Nature"  and  'Paint- 
ing from  ^lemoranda."  The  general  relation  of  art. 
and  especially  painting,  to  the  general  world  of 
thought  and  perception  is  more  plainly  seen  after 
study  of  this  book,  especially  in  the  chapters,  "Tran- 
scendentalism in  Painting"  and  "Analysis  and  Syn- 
thesis." The  general  disregard  and  the  common 
contempt  for  art  among  English-speaking  people  is 
well  explained  and  its  consequences  pointed  out.     704 

Present  State  of  the  Fine  Art  of  France, 
with  many  illustrations.  N.  Y.,  Macmillan, 
S7-50. 

A  slight  and  popular  account  of  the  important  sub- 
ject named,  but  Mr.  Hamerton  is  belter  inlormed  upon 
the  subject  than  almost  any  other  writer  in  English  and 
his  lightest  dicta  are  lobe  accepted  as  accurate  in  the 
essence.  One  chapter  is  devoted  to  impressionism,  one 
to  ihe  rustic  school,  one  to  the  survival  of  classical  sen- 
timent, etc.,  all  with  regard  to  painting  .  there  is  also  a 
chapter  on  sculpture,  and  one  on  architecture,  which  is 
very  inadequate,  finally  a  brief  chapter  on  engraving, 
including  etching.  There  are  twelve  full-page  prinls 
from  etchings  by  competent  artists  and  about  seventy 
illustrations  in  the  te.xt.  704 

Harford,  John  S. 

Life  (.'F  Michael  Angelo  BroNARROTi.  with 
Poems  and   Letters,   also  Memoirs  of  Savo- 
narola.    Raphael,     and     Vittoria    Colonna. 
Lond..  Longmans,  1S57,  2  v.     Out  of  print. 
Each  of  the  biographies    of    Michelangelo  has  its 
peculiar  value,  as  is  shown  by  the  constant  references 
m  each  work  to  those  that  have  been  issued  previously. 
On  the  whole  the  one  by  Symonds  is  the  most  valuable, 
but  there  is  no  one  of  them  that  is  not  well  worth 
possessing.  920 

Harrison,  Jane  !B. 

Introdcctory  Studies  in  Greek  Art  ;  with 
map   and    illus.     N.    Y.,   Macmillan,    1S92, 

$2.25- 

Miss  Harrison  has  made  a  long-continued  study  of 
Greek  art,  residing  in  Athens  and  keeping  closely  in 
touch  with  realities.  The  attempt  in  this  work  is  to  ex- 
plain the  superiority  of  Greek  art  over  those  of  previous 
and  contemporary  peoples  by  what  is  here  called  its 
ideality  It  may,  perhaps,  be  pointed  out  that  there  is 
ideality  in  Egyptian  and  Syrian  art  too.  and  that  our 
authoress  is  not  sufficiently  ready  to  detect  and  explain 
this.  These  essays  are.  however,  extremely  suggestive, 
stimulating,  and  an  excellent  guide  to  the  student  of 
the  finest  sculpture  known  to  men.  913 

Mythology  and  Monuments  of  Ancient 
Athens  :  a  translation  of  a  portion  of  the 
'  "Attica"  of  Pausanias.  by  Margaret  de  G. 
Verrall,  with  introductory  essay  and  ar- 
chaeological commentary.  N.  Y.,  Macmil- 
lan, 1890.  §4. 

Much  more  than  a  guide-book  to  Athens  As  the 
ancient  buildings  there  are  of  supreme  importance  in 
the  history  of  classical  architectural  structure,  this 
book,  with  its  plans  and  iHustrations,  is  a  valuable  aid 
to  anyone  who  would  like  to  study  monuments  upon 
the  spot  but  who  cannot  go  to  Athens  yet.  Illustra- 
tions from  painted  vases  are  used  with  great  skill  to 
explain  the  larger  and  more  permanent  monuments 

913 

Helbig,  Wolfgang, 

Guide  to  the  Pubmc  Collections  of  Clas- 
sical Antioiities  in  Rome.  Transl.  by 
J.  T,  Muirhead.  Leipzig.  Baedeker,  1S91. 
2  v.,  12  marks. 

The  museums  of  Rome  are  so  vast,  and  their  collec 
tions  so  varied  in  character  and  covering  so  large  a 
field,  that  any  adequate  treatise  upon  them  is  valuable 
even  to  stay-at-home  students.  Helbig  is  an  archaeolo- 
gist of  undisputed  authority  and  great  reputation,  who 
has  given  special  attention  Ut  the  antiquities  of  the  city 
of  Rome  and  its  neighborhood.  913 


Helbig,  Wolfgang,  <///</ Lanciani,  Rodolfo. 

Article  Roman  ARCiiyicuLocv.  Johnson's  Uni- 
versal Cyclop.tdia.     Ed.  i8<)3-95. 

This  article  is  of  singular  value,  for,  although  it  is 
confined  to  the  city  of  Rome  and  its  neighborhood, 
the  whole  subicct  of  building  and  tine  art  lor,  perhaps, 
a  thousand  years  is  treated  in  it  with  great  knowleage 
and  cruical  appreciation. 

James,  Henry. 

l"<tkKi(;\  Parts.      Leipslc.  Tauchnilz  ;   X.  Y.. 
Lemckc  tS:  Hucchnor.  50  c. 

Noticeable  among  the  records  of  travel  written  by 
literary  men  for  its  insight  into  the  graphic  arts.  The 
student  of  fine  art  is  so  generally  compelled  to  say  that 
the  literary  man  docs  not  understand  nim  nor  his  point 
of  view,  that  this  noteworthy  exception  is  most  gratily- 
ing.  910 


Host.,    Hough- 


Transatlantic   Sketches. 
ton,  1SS2.  ^2. 

See  what  is  said  with  regard  to  this  author's  book. 
■'  Foreign  Parts."  A  sense  of  how  far  it  is  safe  for  the 
non-professional  traveller  to  commit  himself  is  an  essen- 
tial part  of  intelligent  writing  on  the  works  of  art  that 
he  meets  with  ■  this  sense  is  possessed  by  Mr.  James 
in  an  altogether  unusual  degree.  010 

Jarves,  James  Jackson. 

A  Glimpse  at  the  Akc  of  Japan.  Host.. 
Houghton,  1S76,  §2. 50. 

Written  in  haste,  at  the  time  when  Japanese  art  had 
only  begun  to  excite  attention  in  Europe.  It  is^  more- 
over, the  work  of  a  man  not  gifted  with  much  insight 
into  fine  art  conditions.  The  large  number  of  repro- 
ductions from  Japanese  picture-books,  and  the  at- 
tempted explanation  o(  their  meaning  is,  however,  an 
aid  to  students  of  the  subject  if  they  have  not  more 
authoritative  works  at  hand  ;  it  is  interesting  to  see 
how  Europe  and  the  United  States  philosophized  over 
the  new  and  not  well  understood  tine  art  when  it  first 
came  to  their  notice.  709.52 

Jewitt,  lile^irellyn. 

Half  Hocks  Among  Some  English  Antiqui- 
ties. Lond.,  Hard  wick  &  Bogue.  1S77, 
5s.      Out  of  print. 

An  excellent  simple  account  of  the  remains  of  pre- 
historic mounds,  stone  circles,  etc.,  also  of  the  earthen- 
ware, weapons,  etc.,  of  early  times  found  in  England.  A 
good  introduction  to  the  subject  of  archaeology  of  the 
northern  nations.  There  are  also  chapters  on  church 
bells,  stained  glass,  encaustic  tiles,  and  other  antiqui 
ties  of  the  later  Middle  Ages.  013.42 

Eoehler,   S.  R. 

American  Art.  Illustrated  by  25  plates  ex- 
ecuted by  the  best  American  etchers  and 
wood  -  engravers,  from  paintings  selected 
from  public  and  private  collections,  with 
text  by  S.  R.  Koehler  (Curator  of  the  Print 
Dept.  in  Boston  Museum  of  Fine  Arts),  i 
vol.,  folio.     N.  Y..  Cassell.  $15.  70O 

La  Farge,  John. 

An  Artist's  Letters  from  Japan.  Illus- 
trated by  the  author.  N.  Y.,  Century  Co.: 
1S97.  $3- 

A  part  at  least  of  the  material  of  this  book  has  ap- 
peared in  the  Century  Magazine.  The  book  is  an- 
nounced to  appear  early  in  1897.  It  will  be  a  volume 
of  250  pages,  containing  about  forty  illustraiions  by  the 
author.  The  letters  will  be  found  to  contain  much  of 
the  most  delicate  and  subtle  thought  about  art  that 
has  ever  been  written  even  by  Mr.  La  Farge.     709.32 

Xjanciani,  Rodolfo. 

Ancient  Romf,  in  the  Light  of  Recent  Dis- 
coveries. Host..  HouKhton.  iSSt).  S6. 
Mr.  Lanciani  is  so  profoundly  versed  in  the  archie- 
ology  of  his  native  city  and  in  Roman  archaeology 
throughout  the  peninsula,  that  he  writes  upon  these 
topics  as  a  final  authority  ;  even  the  popular  treatment 


Fine  Art. 


oi  his  theme  cannot  in  any  way  interfere  with  the 
thoroughness  of  the  treatises  included  in  it.  Roman 
archaeology  is  of  unique  importance  to  all  students  of 
the  art  of  Modern  Europe,  and  yet  it  has  been  but 
little  studied  and  we  are  only  beginning  to  obtain  the 
power  of  understanding  it  in  a  general  sense.  These 
excellent  papers  are  among  the  most  important  aids 
offered  to  students.  945.6 

Pagan  AND  Christian  Rome.     Host.,  Hough- 
ton, 1S93.  $6. 

See  what  is  said  above  under  Ancient  Rome.  The 
present  work  is  in  a  sense  its  continuation,  and  may  be 
recommended  with  equal  confidence.  Among  the  titles 
of  its  chapters  are:  "  Christian  Churches,"  "  Christian 
Cemeteries,"  '*  Pagan  Shrines  and  Temples,"  "Pagan 
■Cemeteries;"  two  very  interesting  chapters  deal  with 
Imperial  and  Papal  Tombs.  945.6 

History  of  the  Destruction  of  Ancient 
Rome.      Illus.       N.    Y.,    Macmillan.      An- 
nounced without  date. 
See  what  is  said  of    this  author  under  his  other 

works.  945.6 


Xiane,  Edward  William. 

Manners    and    Customs    of   the    Modern 
Egyptians.      Illus.     Lond.,  John  Murray, 

1S7I,  2  v..    I2S. 

There  is  no  such  handbook  as  this  for  the  study  of  a 
■country  and  people  of  alien  race  and  religion.  In  order 
to  understand  tne  Moslem  nations  a  familiarity  with 
Ihis  book  is,  perhaps,  essential,  and  is  certainly  most 
useful.  The  fine  arts  of  any  race  can  only  be  rightly 
understood  by  those  who  are  somewhat  familiar  with 
the  beliefs,  customs,  and  traditions  of  that  people. 

913.32 

Laugel,  Auguste. 

L'Optique   et    les    Arts.       Paris,   Bailliere, 

1869,  fr.  2.50. 

Mr.  Laugel  is  a  writer  of  philosophical  tendencies, 
who  with  a  rare  mtelligence  has  combined  political  and 
scientific  thought  with  philosophy.  This  treatise  is  a 
■semi-scientific  examination  of  the  part  played  by  the 
eye  in  the  graphic  and  plastic  arts.  701 

Lane-Poole,  Stanley.    See  Poole,  Stanley  Lane. 

Ijechevallier-Chevignard,  Edmond. 

Les    Styles    Frani^'ais.      ( B.  E.  B. A. )      Paris, 

Quantin,  1S92,  5  fr. 

An  admirable  treatise  in  which  the  great  epochs  of 
art  in  France  are  well  discriminated,  and  the  works  of 
art  of  all  varieties  belonging  to  one  epoch  are  con- 
sidered and  compared.  700 

Ijemonnier,  Henry. 

Etudes  d'art  et  d'histotre  de  l'art  fran- 

^AIS    AU    TEMPS    DE    RlCHELIEU  ET  MaZARIN. 

Paris.  Hachette,  1S93.  fr.  3.50. 

A  valuable  book  dealing  with  the  long  period  of 
French  art,  the  works  of  which  are  not  much  studied 
out  of  France.  It  is  too  much  the  custom  to  dismiss 
this  art  of  the  XVII.  century  as  that  of  the  decadence 
and  as  lacking  in  solid  value.  700 

Lenormant,  Fran9ois. 

La  Grande-Gr^ce  :  Paysages  et  Histoire. 

Paris,  A.  L6vy,  18S4,  3  v.,  12  fr. 

The  extreme  south  of  Italy  has  been  very  little  ex- 
plored by  archaeologists,  even  since  the  time  of  the 
journey  recorded  in  these  volumes  in  1879.  This  jour- 
ney was  only  a  rapid  exploration,  which  the  auther  no 
doubt  would  have  followed  up  had  he  lived  longer. 
As  a  rapid  passing  in  review  of  the  architectural  and 
other  treasures  of  the  far  South,  at  once  an  interesting 
and  instructing  book.  The  historical  and  legendary 
value  of  each  place  receives  full  attention  ;  thus,  forty 
pages  are  devoted  to  all  that  documentary  evidence  has 
to  give  about  the  ancient  Metapontum  before  the  de- 
scription of  the  ruined  Temple  begins;  a  description 
which  has  to  be  brief  because  no  excavations  or  re- 
searches have  been  undertaken  on  the  site.        913.38 


Lethaby,  W.  R. 

Architecture,  Mysticism,  and  Myth.  Il- 
lus. N.  Y.,  Macmillan,  1892.  Out  of 
print. 

Forms  a  curious  contrast  to  the  straightforward 
common  sense  of  the  author's  "  Leadwork."  To  those 
who  believe  that  symbolism  has  an  important  influence 
over  architecture,  this  work  ma>^  be  recommended,  I 
is  the  purpose  of  these  notes  to  insist  upon  the  artist's 
view  of  art  as  distinguished  from  the  moralist's  or  the 
religious  teacher's  view  of  art ;  it  is  hard  to  believe  that 
the  artist  has  been  much  swayed  in  the  past  or  that  he 
is  now  much  swayed  by  other  than  artistic  and  struct- 
ural considerations.  This  book  is  in  a  sense  a  body  of 
argument  on  the  other  side  of  this  question,  and  may 
be  taken  as  such.  720.1 

Lubke,  Wilhelm. 

Geschichte  der  deutschen  Kunst  von  den 
frChesten   Zeiten    bis   zur    Gegenwart. 
Stuttgart,  Neff,  iSg4,  22  marks. 
A  connected  history  of  German  art  to  which  on  oc- 
casion the  work  of  Forster  with  its  many  illustrations 
would  serve  as  adjunct.    The  book  should  be  translated, 
for  it  15  one  of  the  author's  latest  productions.  709 

Marshall,  Henry  Rutgers. 

^Esthetic   Principles.      N.    Y..    Macmillan, 

1S95,  $1.25. 

The  attempt  of  the  author  of  "  Pain,  Pleasure,  and 

Esthetics ' '  to  explain  in  a  brief  and  easily  grasped  form 
so  much  of  his  theory  as  should  be  read  by  students  of 
art.  Metaphysical  inquiry  into  the  sources  of  pleas- 
ure in  art,  or  in  beauty,  has  but  little  to  do  in  art-study, 
but  this  book  is  prepared  by  an  architect  in  active  prac- 
tice and  a  designer  of  ability,  and  demands  especial 
notice  on  that  account.  701 

Meirtha,  Jules. 

Manuel  d'Archeologie  Etri^sque  et  Ro- 
MAiNE.     (B.E.B.A.)     Paris.  Quantin,  5  fr. 

In  this  handbook  Roman  art  is  treated  as  in  a  sense 
a  development  of  the  Etruscan  art,  much  moditied  by 
Greek  influence.  Roman  art  as  we  know  it,  that  is 
the  art  of  the  Imperial  epoch,  has  little  trace  left  of  its 
Etruscan  origin,  but  it  is  not  to  be  doubted  that  the  art 
of  the  Republic  was  almost  wholly  Italian  at  least,  tf 
not  wholly  Etruscan  in  a  technical  sense.  The  author 
is  entirely  competent  and  has  furnished  the  student 
here  with  a  book  much  more  valuable  than  its  small 
size  and  simplicity  would  indicate.  913 

L'Art    Etrusque.      Paris,     Firmin-Didot    Ov; 

Cie..  iSSg,  40  fr. 

A  larger  and  more  elaborate  work  by  the  author  of 
the  book  mentioned  above.  It  contains  many  illustra- 
tions and  is  the  best  general  book  on  the  subject  as  yet 
issued.    Compare  the  book  by  Dennis.  913 

Maskellj  Alfred. 

Russian   Art  and   Art  Objects  in  Russia. 

Lond.,  Chapman  &  Hall,  1SS4,  4s.  6d. 

Russian  decorative  art  is  of  two  kinds,  the  tradition- 
al adornment,  as  of  the  semi-Asiatic  people,  and  the 
much  more  sophisticated  design  which  has  been  partly 
inspired  by  Western  Europe.  Concerning  the  former 
of  these,  consult  the  work  named  under  ViolIet-le-Duc. 
The  naturally  designed  housesof  the  people  are,  in  some 
parts  of  the  vast  empire,  log-houses,  of  an  improved 
sort,  so  to  speak,  and  the  design  of  these  is  sometimes 
remarkably  effective.  As  regards  the  less  admirable 
Russian  design,  the  enamelled  metal  work,  rather  com- 
mon in  our  shops  since  1890,  or  thereabout,  may  be 
cited.  It  is  not  without  merit  as  combination  of  color 
but  is  hard,  cold,  and  monotonous.  913 

Maspero,  G. 

Arch^ologie      Egyptienne.        (B.  E.  B.  A.) 

Paris,  Quantin,  5  fr.     Transl.  by  Amelia  B. 

Edwards  as  Egyptian  Archaeology.    Illus. 

4th  edition,  revised,     N.  Y,,  Putnam,  1S95, 

^2.25. 

Puts  a  very  large  subject  into  such  form  that  its 
main  outlines  can  be  easily  understood.  The  present 
edition  is  revised  to  date  in  accordance  with  newly 
discovered  facts;  new  illustrations  are  added,  such  as 


Fine  Art, 


those  of  Peirie  and  Naville,  or  those  setting  forth  the 
text  more  fully.     An  accurate  and  attractive  work. 

913.32 

Dawn  or  Civilization  :    Er.vrx  and  Chai,- 
\K\\x.     lilus.     N.  Y.,  Appleton,  1894,  S7.50. 

Translated  b^'  M.  L.  McClure,  a  member  of  the  Com- 
mittee of  the  E&ypt  Exploration  Fund,  and  edited  by 
the  well-known  and  universally  recognized  arch.t- 
ologist,  A.  H.  Sayce,  Professor  of  Assyriology  at  (Ix 
ford.  Something,  but  not  much,  has  been  added  by  the 
editor  to  Maspero's  text.  To  Egypt  is  devoted  nearly 
three-quarters  of  the  work  ;  for  the  archfeological  study 
of  Egypt  IS  nearly  a  century  old,  but  that  of  Chaldxa 
a  thing  of  yesterday.  The  history  of  these  ancient  na- 
tions is  inseparable  from  their  tine  art,  as  it  is  from  this 
that  their  history  is  chiefly  learned.  913 

The    Stritcgle   of   thk    Nations  :    Egyi't. 

Syria,    and   Assyria.      N.    Y.,    Appleion. 

1896.  S7.50. 

In  a  sense  a  continuation  of  the  "  Dawn  of  Civiliza- 
tion," taking  up  the  history  of  Egypt  at  the  14th  Dy- 
nasty. 913 


Maxwell,  Sir  W.  Stirling. 

well. 


.S(V  Stirlin«^-Max- 


Michelangelo,  Lives  of.  Sec  Grimm.  H.  F. ; 
Harford.  J.  S. ;  and  Wilson.  C.  H.,  Part  I.; 
also  Sweetser,  M.  F.,  Part  11. 

Menard,  Rene. 

Art  antique.  1S70,  2  fr. 

Art  du  moyen  age,  1S72,  2  fr. 

Art  moderne,  1S74.  2  fr. 

HlSTOIRE     ILLL'STREE    DES    BEAfX-ARTS,     1S74, 

12  fr. 
All    published    Paris.    Lib.    de    I'Echo    de    la 
Sorbonne. 
By  a  competent  writer  recently  dead.  700 

Middleton,  J.  Henry. 

Remains   of   Ancient  Rome,     lllus.    N.  Y.. 
Macmillan,  iSg2,  2  v..  S7. 

An  enlarged  edition  of  "Ancient  Rome  in  1885," 
afterwards  called,  in  a  new  edition,  "  Ancient  Rome  in 
1888."  This  account  of  the  ruins  and  other  remains  of 
the  ancient  Roman  world  contained  in  the  city  and  its 
neighborhood  includes  a  full  description  of  materials 
and  processes  of  building  anciently  in  use,  and  is 
valuable  to  a  student  of  architecture.  913.376 

MUlet,   Frank    D.;  Low,    WiU   H.;    MitcheU, 
J.  A.;  Gibson,  W.  Hamilton;  Smith,  F.  Hop- 
kinson. 
Some  Artists  at   the   Fair.     N.  V.,   Scrib- 

ner,  1S93,  $1.25. 

This  book  is  catalogiied  under  the  name  of  Millet, 
because  that  artist's  paper  on  "The  Decoration  of  the 
Exposition"  occupies  nearly  half  the  book  and  treats 
of  by  far  the  most  important  part  of  the  general  sub- 
ject. The  decoration  by  figure  painting  and  to  a  less 
degree  by  figure  sculpture  was  what  was  most  impor- 
tant at  Chicago  in  1893  ;  this  inexpensive  little  book 
gives  an  account  of  that  decoration  as  good  if  not  quite 
as  full  as  the  expensive  subscription-book  which  deals 
with  so  much  besides.  700 

Molmenti,  P.  G. 

La  Vie  Privee  A  Venise,     Venice,  Ongania, 

iSSi,   8   fr.     (Italian   ed.,    same   publisher, 
7  lire.) 

Although  not  a  treatise  on  art  this  book  is  valuable 
to  students  of  the  Italian  fine  art  of  the  Renaissance, 
^nd  to  a  lesser  degree  to  the  student  of  Byzantine  and 
other  early  art.  The  reproducticjn  of  bygone  times  is 
extremely  intelligent  ana  suggestive;  the  author  gives 
far  more  atlenti<^n  to  the  fine  arts'  side  of  life  and  to  the 
rich  costume  and  the  stately  and  decorative  ceremonies 
which  entered  deeply  into  the  life  of  the  people  and 
formed  a  part  of  the  art  which  we  now  admire.  There 
are  a  few  excellent  illustrations. 


The  French  form  of  the  book  is  given  in  preference 
to  the  Italian  original  as  far  better  known.  It  is  trans- 
lated from  the  second  or  third  Italian  edition.      045.3 

Moody,  F.  W. 

Lectures  and  Lessons  on  Art:  Being  an  In- 
troduction to  a  Practical  and  Compre- 
hensive Scheme.  Sth  etlitiun.  lllus.  N. 
v.,  Macmillan,  1S93,  $1.25. 

An  extremely  valuable  treatise  on  the  right  princi- 
ples of  learning  to  draw  and  the  way  to  begin  the  study 
of  design.  The  author  seems  to  be  perfectly  aware  of 
the  impossibility  of  teaching  people  to  design,  but  he 
finds  some  important  general  princijjles  which  maybe 
laid  down  as  universally  true.  Like  many  artists  whose 
attention  is  given  chiefly  to  painting  and  drawing,  he 
fails  to  see  the  value  of  such  constructional  architecture 
as  that  of  the  Gothic  style  ;  this  comes  of  the  inherited 
teaching  of  the  Renaissance  and  succeeding  schools. 
The  style  of  the  book  is  epigrammatic  and  even  fanciful. 
It  IS  therefore  well  fitted  to  fix  the  attention  :  but  such  a 
style  IS  apt  to  lead  the  author  to  positive  decisions  ad- 
mitting of  no  differences  of  opinion.  Now  in  art  there 
are  no  truths  so  positive  as  that.  707 

Morris,  William. 

lloi'Es  AM>  Fears  for  Art.     Best.,  Roberts. 

Si. 25. 

Mr.  Morris  had  a  thorough  understanding  of  the 
shortcomings  of  modern  art,  and  especially  of^the  arts 
of  decoration,  architecture  being  the  chief.  He  saw 
very  clearly  the  ruin  of  architecture  by  the  conscious, 
academic,  unnatural  method  of  study  of  modern  times 
and  by  the  commercial  spirit  which  controls  it.  He 
saw  also  the  way  in  which  the  arts  of  the  far  East  have 
been  and  are  being  destroyed  by  the  interference  of  Eu- 
ropean commercial  methods.  The  complete  disappear- 
ance, owing  to  such  causes  as  these,  of  the  ancient, 
traditional,  and  popular  art  of  Europe  is  one  important 
cause,  no  doubt,  of  this  author's  turning  to  aggressive 
socialism  during  his  later  years.  704 

Morse,  Edward  S. 
Japanese  Homes  and  Their  Surroundings. 
lllus.     N.  Y.,  Harper,  S3. 

Valuable  because  showing  how  primitive  are  the 
plans  of  houses  and  how  simple  is  the  life  of  the  Japan- 
ese, who  are  the  most  arlistical  people  of  our  time.  1 1 
IS  well  to  observe  how  easily  good  taste  and  delicate 
designing  can  be  separated  from  large  outlay. 

The  Japanese  domestic  life  is  so  extremely  simple  ; 
the  outfit  of  furniture  in  a  dwelling  is  so  very  small, 
and  the  building  itself  is  of  so  light  and  temporary  a 
character  that  inat  which  is  characteristic  of  the  dec- 
orative art  of  Europe  is  absent.  The  Japanese  man  of 
wealth  does  not  sit  in  a  large  room  surrounded  by 
sculpture,  paintings,  cabinets  full  of  choice  and  costly 
objects  of  art  seen  through  ^lass,  and  larger  pieces  of 
bronze  and  porcelain  standing  on  every  side.  The 
room  IS  generally  bare  of  adornment,  and  decorated 
only  by  extreme  neatness  and  precision  of  workman- 
ship together  with  sume  very  delicate  choice  shown  in 
the  wood  employed,  and  the  single  roll-picture  (kake- 
mono) with  a  bronze  vase  in  front  of  it,  which  vase 
holds  generally  a  branch  of  a  blossoming  plant,  or  two 
or  three  fiower-stands  carefully  arranged.  The  lavish 
decoration  bestowed  upon  minute  bronze  disks,  the 
handles  of  knives  and  swords,  small  lacquered  boxes 
carried  m  the  girdle,  and  little  cases  for  smokers  is  not 
rightly  understood  until  the  absence  of  such  decoration 
from  large  surfaces  is  perceived.  Mr.  Morse's  book  is 
a  thorough  study  of  that  strange  manifestation  of 
Japanese  life  of  which  we  have  just  spoken^  although 
It  is  probable  that  the  book  deals  too  exclusively  with 
the  homes  of  the  middle  class  and  there  may  be  addi- 
tional truths  to  be  learned  concerning  the  interiors  of 
homes  of  persons  of  the  highest  rank  and  station. 

722.1 

Miintz,  Eugene. 

La  Renaissance  en  Itame  et  en  France  .\ 

L'f^i'OQVE  DE  Charles  Vlil.     lllus.     Paris, 

Didot,  1885,  30  fr. 

This  valuable  book  is  to  be  studied  in  connection 
with  those  by  De  Laborde  and  Mrs.  Pattison  for  the 
history  of  art  in  France.  For  an  in  Italy  MUntz's 
own  works  are  the  best,  except  those  works  on  special 
branches  and  those  monographs  which  hardly  come 
within  the  scope  of  this  bibliography.  Compare,  how- 
ever, the  different  works  on  architecture  in  Part  III.; 
some  cf  these  contain  the  record  of  so  much  of  the 
Renaissance  as  had  to  du  with  building.  709 


Fine  Art. 


HlSTOIRE  DE  L'ArT  PeNDANT  LA  RENAIS- 
SANCE. Vol.  I..  Italic:  Les  Primitifs,  30  fr. 
—Vol.  II..  Italic:  L'Age  d'Or,  35  fr.— Vol. 
III..  Italic:  La  Fin  de  la  Renaissance,  35 
fr.     Paris,  Hachette  &  Cic,  1895. 

These  large  volumes,  elaborately  illustrated,  will  be 
found  too  expensive  for  many  libraries,  bui:  are  of 
singular  importance  to  all  who  would  make  a  serious 
study  of  the  fine  arts  in  general  or  of  modern  painting, 
sculpture,  and  decoration.  Learning  and  a  true  sense 
of  the  meaning  of  fine  art  have  been  combined  in  this 
work  in  a  very  unusual  way.  The  Renaissance  in  art 
is  wholly  of  Italian  origin,  however  much  it  may  have 
been  modified  when  in  later  years  it  began  to  influence 
other  nations.  709 

Les  Precurseurs  de  la  Renaissance.    Paris, 

Librairie  de  TArt.  1S82,  25  fr. 

A  valuable  study  of  the  influences  which  were  at 
work  in  Italy  during  the  XIV.  century  and  the  early 
years  of  the  XV.,  all  tending  toward  that  strange  and 
brilliant  development  of  fine  art  which  marks  the  early 
years  of  the  Renaissance.  Those  who  study  this  au- 
thor's large  work  in  three  volumes,  named  above,  may, 
perhaps,  dispense  with  this  one,  although  this  is  a  valu- 
able study  in  itselL  709 

Florence  et  Toscane.  Paris,  Hachette, 
40  fr. 

A  more  familiar  treatise  on  the  noticeable  works  of 
art  of  this  singularly  artistic  region  of  Italy.  700 

Murray,  A.  S. 

Article  Arch.^ology.  the  Classical  part,  be- 
ginning p.  343,  Encyclopaedia  Britannica, 
Qth  ed. 

Although  much  advance  has  been  made  in  archaeol- 
ogy since  this  volume  was  published  (1878),  this  trea- 
tise may  be  used  with  advantage  by  those  who  have  not 
access  to  the  same  author's  book  next  named. 

Handbook  of  Greek  Arch.^ology  ;  Vases, 
Bronzes,  Gems,  SctiLPTURE.  Terra-Cotta, 
Mural     Paintings.    Architecti're,    etc. 
With  numerous  illustrations.     Lond.,  John 
Murray,  iSs.      N.  Y.,  Scribner,  $6. 
By  a  very  competent  archaeologist ;   devotes  much 
space  to  the  painted   and  other  pottery  vases  of  the 
Greeks  ;  of  course,  a  very  important  branch  of  archeol- 
ogy.    Sculpture  in  marble  and  bronze  and  on  a  larger 
scale  IS  also  discussed  with  some  fulness.     Architect- 
ure receives  very  brief  treatment.  913.38 

Norton,  Charles  Eliot. 

Notes  ok  Travel  and  Study  in  Italy. 
Bost.,  Houghton,  i8g6,  $1.25. 

Of  unique  value  because  of  its  dehcate  appreciation 
of  the  value  of  fine  art.  A  part  of  the  book  is  devoted 
to  an  account  of  the  building  of  Orvieto  cathedral  in  the 
XIV.  century;  the  way  of  proceeding,  so  different 
from  the  modern  way  in  similar  cases,  is  well  worth 
careful  consideration  by  all  students.  914.5 

Owen,  A.  C. 

Art  Schools  of  Medl^val  Christendom. 
Edited  by  J.  Ruskin.  Lond.,  Mozley  *S: 
Smith,  1876.     Out  of  print. 

Miss  Owen's  book  is  a  useful  introduction  to  the 
study  of  mediaeval  sculpture  and  XV.  century  painting 
together  with  their  related  arts.  The  tone  of  criticism 
IS,  however,  that  suggested  by  a  study  of  Mr.  Ruskin's 
works.  709 

Paleologue,  Maurice. 

L'Art  Chinois.     (B.E.B.A.)      Paris,   Quan- 

tin,  5  fr. 

Divided  into  Bronzes ;  Architecture  ;  Carved  Stone  ; 
Carved  Wood  and  Ivory ;  Work  in  Hard  Stones — that 
is,  jade,  rock  crystals,  and  the  like;  Ceramics,  Glass, 
Enamels,  Paintings,  Lacquer.  The  author  has  been 
much  in  China,  but  probably  the  greater  part  of  his 
study  of  the  works  of  Chinese  art  has  been  m  the 
splendid  private  collections  of  Paris  and  its  neighbor- 
hood. He  has  been  successful  in  insisting  upon  the 
truly  lofty  and  worthy  character  of  the  fine  art  which 
has  seemed  to  so  many  Western  people  only  trivial. 

709 


Palgrave,  Francis  Turner. 

Essays  o.\  Art.  Lond.,  Macmillan,  1S66,  6s. 
Out  of  print. 

Should  be  read  in  connection  with  Mr.  Rossetti's. 
book  named  below.  Mr.  Palgrave  is  the  well-known 
compiler  of  the  "Golden  Treasury,'*  a  scholar  and 
literary  man  who  gave  much  thought  to  art  during  the 
years  previous  to  the  publication  01  this  book.         704= 

Paravicini,  T.  V. 

Le  Arti  del  Disegno  in  Italia:  Parte  Terza, 
L'Evo  Moderno.  Milan,  Vallardi,  30  lire. 
This  volume  is  the  third  of  a  series  (see  under  Sel- 
vatico  and  also  Selvatico  and  Chirtani).  The  three 
works  together  give  the  history  of  art  in  Italy  from  the 
earliest  times  to  the  middle  of  the  XV^III.  century. 
The  treatment  is  entirely  popular  and  the  arrangement 
of  the  material  is  not  the  best  conceivable.  It  is,  how- 
ever, of  the  highest  value  to  students  to  see  an  impor- 
tant national  art  as  far  as  they  may  with  the  eyes  of  the 
nation  that  called  it  forth.  In  the  absence  of  more 
critical  works  in  Italian,  except  for  certain  limited 
epochs,  this  book  is  useful  70& 

Pater,  Walter. 

Greek  Studies  ;  Essays  prepared  for  the 
press  by  Chas.  L.  Shad  well.  N.  Y..  Mac- 
millan, 1895,  Sr.75. 

About  half  this  volume  is  devoted  expressly  to  the 
fine  art  of  the  Greeks;  much  of  the  remainder  bears 
closely  upon  it.  What  is  said  of  Greek  sculpture  and 
Greek  feeling  for  art  is  very  suggestive  and  inspiring. 
No  man  not  himself  an  artist  ha*;  felt  more  accurately^ 
and  as  it  seems  instinctively,  what  the  artist's  concep- 
tion IS.  913.38 

Pattison,  Mrs.  Mark. 

The  Renaissan'CE  of  Art  in  France.    Lond., 

C.   Kegan   Paul  &  Co.,   iSyg,  2  v.     Out  of 

print. 

A  popular  account  of  one  of  the  most  extraordinary 
passages  in  the  history  of  fine  art.  Compare  what  is 
said  of  the  book  of  De  Laborde.  The  sense  of  dec- 
orative art,  as  in  architecture,  is  very  strong  in  this 
book,  and  if  painting  and  sculpture  are  not  wholly 
understood  in  their  true  artistic  sense,  the  book  is 
scarcely  less  valuable  as  a  body  of  information.       709 

Perate,  Andre. 

L'ARCHtoLOGiE  Chr^tienne.  (B.  E.  B.  A.) 
Paris,  Quantin,  1892,  5  fr. 

Christian  archaeology  in  the  sense  of  the  study  of  its 
iconography  and  its  artistic  remains  is  rapidly  attaining 
the  position  which  had  been  gained  before  by  the  study 
of  classical  art.  It  is  now  almost  a  science,  and  only 
strong  differences  of  creed  among  the  modern  students 
prevent  it  from  being  a  science  in  the  strict  sense. 
This  little  book  affords  an  admirable  introduction  to 
the  study  of  the  subject.  It  is  one  of  the  best  of  the 
excellent  series  to  which  it  belongs.  913 

Perrot,  Georges,  et  Ohipiez,  Charles. 
Histoire  de  l' Art  dans  l'Antiquite : 
£gypte,  Paris,  Hachette.  1882,  30  fr. 
Transl.  by  Walter  Armstrong  as  History 
OF  Art  IN  Ancient  Egypt.  Lond.,  Chap- 
man &  Hall,  30S. 

The  first  volume  of  the  extensive  work  on  ancient 
art,  which  Mr.  Perrot,  who  is  a  member  of  the  Institute, 
and  Mr.  Chipiez,  who  is  an  architect  and  a  descriptive 
artist  of  great  skill,  are  engaged  in  producing.  The 
volumes  Form  separate  books,  5nd  these  books  have 
been  translated  into  English  and  published,  generally, 
if  not  always,  in  two  volumes  to  each  one  of  the  French 
original.  In  accordance  with  the  custom  established  in 
this  catalogue  the  original  work  is  named  and  described. 
The  serious  defects  which  have  been  alluded  to  else- 
where (see  note  at  the  beginning  of  the  work)  as  exist- 
ing in  many,  and  even  most,  translations,  are  especially 
noticeable  in  some  of  these  volumes.  On  the  other 
hand  those  volumes  (see  separate  notices)  which  have 
been  translated  by  Walter  Armstrong  have  been  well 
done.  In  all  such  cases  it  is  altogether  better  to  possess 
and  use  the  original.  Librarians  might  do  well  to  en- 
courage those  who  use  their  libraries  to  make  some 
effort  toward  understanding  the  original  in  the  certaini  y 
which  they  may  feel  that  four  translations  out  of  five 
are  inadequate  and,  perhaps,  two  out  of  five  are  absurd. 


Fine  Art. 


This  work  on  Egypt  is  the  most  complete  embodi- 
ment wc  have,  in  a  oook  of  moderate  size,  of  what  was 
known  at  the  time  of  us  publication  about  Egvpti-in 
art.  709.3 

HiSTOIRE  DE  L'ArT  DANS  L'ANTIQl'ITf:::  ClIAI.- 

DEE  ET  AssYRiE.  Paris,  Hachetlc,  1SS4. 
30  fr.  Transl.  by  Walter  Armstrong  as 
History  of  Ancient  Art  in  Chald.-ka  and 
Assyria.     Lond.,  Chapman  &  Ha]l.  42s. 

The  second  book  by  these  authors  of  the  series 
spoken  of  above  under  the  work  on  Egypt  It  contains 
much  more  that  is  original  than  the  Egypt,  because  the 
subject  IS  much  more  novel  in  archaeological  study;  and 
indeed  the  writer  knows  of  no  work,  laige  or  small, 
which  gives  what  is  contained  in  this  one.  The  trea- 
tise on  Assyrian  architecture  is  a  great  addition  to  our 
knowledge.  709 

HiSTOIRE  DE  1,'ArT  DANS  L'AnTIQUITE  1    Pufe- 

NiciE  ET  Cypre.  Paris.  Hachette,  1SS5. 
30  fr.  Transl.  Dy  Walter  Armstrong  as 
History  of  Ancient  Art  in  Phienicia 
AND  Irs  Dependencies.  Lond.,  Chapman 
cS:  Hall.  42s. 

The  third  book  of  the  series  described  above.  The 
subject  is  so  much  less  interesting  than  those  of  the 
first  two  books  that  comparison  is  unfair.  In  propor- 
tion it  is  equally  valuable.  709 

HiSTOIRE  DE  L'ART  DANS  L'.AnTIQUITE.  Jl'DKE, 

Sakdaigne.  Syrie  ET  Caitadoce.  Paris. 
Hachette,  1SS7,  30  fr.  Transl.  as  History 
OF  Ancient  Art  in  Sardinia,  Jcd-ea, 
Syria,  and  Asia  Minor.  Lond.,  Chapman 
\  Hall.  3f)S. 

The  fourth  book  of  the  series  described  above.  That 
which  will  especially  excite  interest  is  the  long  study  of 
the  ancient  architectural  Jerusalem,  with  the  brillianl 
and  suggestive  restorations  by  Mr.  Chipiez  The  al- 
most unknown  antiquities  of  Sardinia,  and  the  mysteri- 
ous and  disputed  work  of  the  people  who  are  called 
Hittites  m  English,  are  also  considered.  709 

HiSTOIRE  DE  L'ArT  DANS  L' AnTIQUITE:  PhrY- 

oie;  LydieetCarie;  Lycie;  Perse.    Paris. 

Hachette,  iSgo,  30  fr.     Transl.  as  History 

OF  Ancient  Art  in  Phrygia  ;  Lydia  and 

Caria — Lycia.     Lend.,  Chapman   &   Hall, 

15s. 

The  studj'  of  ancient  Persian  art  has  been  followed 
up  by  French  archaeologists  with  a  great  deal  of  zeal 
and  intelligence;  the  result  of  their  work  is  well  pre- 
sented here.  Mr.  Chipiez  has  furnished  most  suggestive 
plates  of  proposed  restoration  and  the  views  of  existing 
monuments  in  their  present  condition  are  admirable. 
Each  of  the  other  chapters  contains  much  of  special 
interest,  tb'  wonderful  Lycian  monuments  being,  per- 
haps, those  which  will  appeal  to  the  greatest  number 
of  readers. 

The  general  badness  of  the  translation  alluded  to  in 
the  remarks  on  the  volume  for  Egypt  is  especially 
noticeable  in  the  case  of  the  present  work.  There  are 
many  cases  in  which  the  translator  states  exactly  the 
reverse  of  what  the  original  gives,  and  very  many  in 
which  the  sense  of  the  original  is  modified  in  a  ruinous 
way.  709 

HiSTOIRE    DE    L'ART    DANS    l'AnTIQUITE:      La 

Gr£ce  Primitive;  l'ArtMyc^nien.    Paris, 

Hachette,  iSq4,  30  fr. 

The  study  of  the  primitive  and  in  a  sense  historic 
art  w^hich  has  been  found  in  Greece,  but  is  only  in  a 
limited  sense  Greek,  is  so  recent  that  no  other  book 
can  be  named  which  is  wholly  devoted  to  it.  The 
phrase  Mycenaean  art  is  generally  used  for  the  portable 
obiects  in  pottery  and  metal  which  have  excited  so 
much  interest,  but  the  present  work  includes  also  an 
elaborate  study  of  the  prehistoric  architecture  of  Greece 
with  elaborate  studies  of  restoration  by  Mr.  Chipiez. 

709 

Petrie,  W.  M.  Flinders. 

Ten   Years   Digging  in   Egypt.   1SS1-1S91  , 

with    map   and    116   illustrations.       Lend., 
Religious  Tract  Soc,  iSg2,  6s. 
Besides  its  value  as  a  partial  account  of  ancient 
Egyptian  Art,  this  book  gives  a  curious  insight  mto 


the  experiences  of  an  explorer  of  ancient  sites,  who 
has  himself  added  much  to  our  knowledge  of  remote 
antiquity.  913.32 

Poole,  Stanley  Lane. 

Akt    (ti-    THE    Saracens    in    Egy rr.      1 11  us. 

Lond.,  Chapman  tS:  Hall.  1SS6.  4s. 

Most  works  on  the  arts  of  peoples  not  of  European 
traditions  are  extremely  superficial,  containing  only 
hasty  impressions  as  of  cmc  newly  struck  by  tlie  novelty 
of  an  art  which  he  has  begun  to  examine  This  book 
IS  that  of  a  man  who  has  studied  his  subject  well  and 
gives  the  reader  what  small  pari  t)f  his  abundant  knowl- 
edge the  pages  allowed  him  will  contain  Otlier  books 
exist  whicti  contain  many  large  and  faithful  illustratK)ns, 
but  It  IS  difhcult  to  name  one  of  this  class  the  text  (f 
which  IS  so  thorough.  Compare,  however,  for  Moham- 
medan  art,  the  two  books  by  A.  Gayet.  709 

Cairo:  Sketches  of  Its  Historv.  Moni*- 
mknis,  and  Social  Likk.  Lond.,  J.  S.  Vir- 
tue, 1S92.  I2S.  6d. 

A  study  of  a  city  and  its  neighborhood,  if  put  into 
such  form  that  hasty  travellers  may  be  persuaded  to 
buy  It  as  a  guide-book,  will  not  often  be  found  a  work 
of  much  thoroughness.  The  present  author's  profound 
mastery  ot  his  subject  has  enabled  him,  however,  \f> 
make  of  this  book  an  excellent  introducti(m  to  the  study 
of  Mohammedan  art  in  Egypt  as  well  as  of  the  external 
aspect  of  the  country  and  the  manners  of  the  people. 

960 

Portfolio,  The. 

During  1894  and  '95  there  appeared  twelve  separate 
books  in  each  year,  each  book  treating  a  different  sub- 
ject 175  cents  each).  In  1896  the  number  of  vo'umcs 
was  reduced  to  six  for  the  year,  at  $1.25  each.  These 
monographs  are  not  all  artistic  in  subject,  and  some 
may  be  called  only  m  a  limited  sense  artistic.  The 
most  important  are  mentioned  separately  in  this  list,  as 
there  is  no  better  art  writing  in  English  to-day  than 
some  of  them  contain  ;  while  many  are  valuable  as  af- 
fording information  not  elsewhere  accessible.  The 
publishers  are  Seeley  &  Co.,  London;  the  Macmillan 
Co.,  New  York.  705. 


Proust,  Antonin. 

L'Art  Franc^ais.  Publication  ofTiciellc  dc  la 
Commissiondes  Beau.\-Arts.  Paris,  Baschet, 
1S90,  f>o  fr. 

A  book  of  180  quarto  pages,  divided  into  ten  separate 
chapters  by  different  writers  .  thus  .Andr^  Michel  writes 
on  landscape.  Louis  Gonse  on  architecture.  There  is 
also  a  general  introduction  by  PhuI  Mantz.  By  way  of 
illustration  there  are  fifty  admirable  photogravures  be- 
sides etchings  and  wood-cuts.  There  is  perhaps  no 
single  book  from  which  so  much  can  be  learned  con- 
cerning the  French  art  of  the  present  century.  700 

Ramsay,  William,  and  Ijanciani,  Rodolfo. 

I\L\Nr.\i.  ok  Roman  ANTHjrrriES,  revised 
and  partly  rewritten  by  Rodolfo  Lanciani. 
N.  Y..  Scribner,  iS(}5.  §3. 

Mr.  Lanciani  is  intimately  connected  with  the  gov- 
ernment and  municipal  care  <)f  the  antiouities  of  the 
city  of  Rome  and  of  Italy  in  general.  All  that  he  has 
added  to  this  book  is  very  valuable  and  contains  the 
latest  knowledge.  The  original  vv<»rk  by  Mr.  Ramsjiy 
has  less  to  do  with  fine  art ;  it  was  good  in  its  time, 
and  what  is  left  of  it  in  this  edition  may  be  assumed 
to  have  been  proved  trustworthy.  See  Helbig  and 
Lanciani.  913 

Reinaoh,  Salomon. 

ANTinirnts  NATIONALES  :  DESCRITTION  RAI- 
SONN£e     DU     Ml^sfeE     DE    SaI  NT-Cf  ERMAIN-EN- 

Layk.  Hkonzks  iuuirks  i>e  i.a  Gaci.e  ro- 
MAINE.  Avec  4  heliogravures  et  (>oodessins 
par  1.  Devillard  et  S.  Reinach.  Paris, 
Didoi.  i.Sc)5,  10  fr. 

The  Museum  of  St.  Germain  isdcvoied  to  the  earlier 
anticjuities  of  France,  Roman,  Ciallo-Rtunan  and  early 
media-'val  as  well  as  i)rehistoric.  The  author  of  this 
book  is  an  archaeologist  of  established  reputation. 

913 


Fine  Art. 


Rosenberg,  Adolph. 

Geschictk.  dek  Modernen  Kunst.  Leipzig, 
Fr.  Wilh.  Grunovv.  iSSg,  3  v..  42  marks. 
Volume  I.  is  devoted  10  the  history  of  French  art 
from  1789  to  the  date  of  publication,  1884  :  the  other  two 
volumes  to  German  art  from  1795  to  the  date  of  publi- 
cation, 1889.  There  is  promised  a  fourth  volume  which 
is  to  deal  with  the  art  of  Austr  a-Hunpary,  Switzerland, 
the  Netherlands,  the  Scandinavian  countries,  England, 
Italy,  Spain,  and  Russia. 

There  are  no  illustrations  ;  the  book  is  in  octavo  form, 
handsomely  printed,  a  serious  effort  at  a  complete  his- 
tory of  the  fine  arts  of  a  whole  century,  sculpture  and 
architecture  receiving  as  much  attention,  proportion- 
ately, as  the  more  popular  and  more  easily  described 
art  of  painting,  while  it  does  not  appear  that  a  propor- 
tionate amount  of  attention  has  been  given  to  engraving 
and  other  arts  considered  less  dignified.  This  would 
be  a  good  book  for  some  American  house  to  publish  in 
English  with  abundant  photographic  illustrations. 

Rossetti,  William  Michael. 

Fine  Akt;  Chiefly  Contemporary;  Notices 

reprinted  with  revisions. 

This  book,  dated  1867  (now  out  of  print),  gives  an 
interesting  account  of  British  and  foreign  art  as  it  ap- 
peared to  able  and  instructed  Englishmen  at  that  time. 
The  author  is  the  brother  of  the  painter  and  poet,  Dante 
Gabriel  Rossetti,  and,  though  not  an  artist  himself,  has 
lived  with  artists  and  has  thought  deeply  on  the  sub- 
ject of  art.  In  1867  he  was  about  thirty-eight  years  old, 
and  his  opinions  were  matured.  He  had  been  a  mem- 
ber of  the  famous  Pre-Raphaelite  Brotherhood  eigh- 
teen years  before  the  appearance  of  this  book.  One  of 
his  essays  is  a  review  of  Mr.  Palgrave's  book,  which 
see.  ""* 

Ruskin,  John. 

Lectures  on  Architecture  and  Painting. 
With  15  illustrations  drawn  by  the  author. 
Lond.,  Geo.  Allen,  7s.  6d.     Also,  with  pref- 
ace by  Prof.  Charles  Eliot  Norton.     N.  Y.. 
Mayn'ard,  Merrill  &  Co.,  82. 75. 
The  first  and  the  second  lectures  are  a  plea  for  Gothic 
architecture  and  the  revival  of  that  style  in  modern 
times.     The  theory,  insisted  on  in  "Stones  of  Venice 
(see  Part  II.),  appears  here  again;  namely,  that  the 
sculptured  ornament  of  a  building  is  its  greatest  and 
only  important  feature,  artistically  considered.     The 
third  lecture  is  on  Turner,  the  landscape  painter,  the 
artist  to  whose  art  the  greater  part  of  "  Modern  Paint- 
ers "  (see  Part  II.)  is  devoted.     The  fourth  lecture  is  on 
the  subject  of  Pre-Raphaelitism.  704 

The  Two  Paths;  Lectures  on  applications  of 
art  to  decoration  and  manufacture.  Lond., 
Geo.  Allen,  5s.  Also,  with  preface  by  Prof. 
Charles  Eliot  Norton.  N.  Y.,  Maynard, 
Merrill  &  Co.,  81.50. 

First  published  in  1859.    The  first  edition  contains 

two  very  beautiful  prints  engraved  after  drawings  by 

the  author.  '"* 

Lectures    on    Art.      Delivered    at   Oxford, 

1870.     Lond.,  Geo.  .Mien,   5s.     Also,   with 

preface    by    Prof.    Charles    Eliot    Norton. 

N.  Y.,  Maynard,  Merrill  &  Co.,  Si. 50.     704 

Sayce,  A.  H. 

Article  Babyloni.-\,  Encyclopcedia  Brilannica, 

gth  ed. 

Although  much  has  been  learned  since  this  article 
was  written,  it  is  still  very  valuable. 

EchUemann.     See  Schuchhardt,  C. 

Schreiber,  Gustav  Theodor. 

ATI  as  of  Classical  Axtii,>uities.  Edited  by 
Prof.  W.  C.  F.  Anderson  ;  with  preface  by 
Prof.  Percy  Gardner.  N,  Y.,  Macmillan, 
1S95,  $6.50. 

An  oblong  folio  containing  a  very  great  number  of 
outline  or  little  elaborated  figures  m  a  hundred  plates. 
In  the  original  German  form  this  book  was  of  singular 
value  ■  the  present  edition  has  the  text  wholly  reworked 
and  enlarged  by  excellent  English  archarologists. 


Schuchhardt,  C 
Schliemann's  Excavations:  an  archaeological 
and  historical  study.     lUus.     N.   Y.,  Mac- 
millan, 1S91,  S4. 

A  compact  and  intelligible  account  of  Dr.  Schlie- 
mann's excavations  at  the  supposed  site  of  Troy  at 
Tiryns  and  at  Mycenae,  as  well  as  at  some  less  im- 
portant sites.  It  IS  to  be  observed  that  not  Dr.  Schlie- 
mann's theories  alone,  but  the  matured  opinions  of 
many  scholars,  are  utilized  in  this  book.  The  intro- 
duction by  Dr.  Leaf  points  out  in  a  suggestive  manner 
the  varied  and  numerous  unanswered  questions  which 
Schliemann's  discoveries  have  raised.  913.38 

Schultz,  Alwin. 

KrNSTc.ESCiiiCHTE.     Berlin,  G.  Grote,  1S95-6. 

To   be   published    in    about    30   parts,   at   2 

marks  each. 

Of  this  work  the  present  writer  has  seen  only  three 
parts.  It  promises  to  be  somewhat  novel  m  its  point 
of  view  and  treatment  of -subjects;  the  illustrations, 
which  are  to  be  very  numerous,  are  likely  to  be  drawn 
to  a  great  extent  from  unfamiliar  sources.  The  German 
is  simple  and  not  hard  to  understand.  709 

Seeley,  J.  R. 

Lectures   and   Essays.       Lond.,    Macmillan. 

1870,  los.  Od.     Out  of  print. 

See  the  Essay  on  Elementary  Principles  in  Art ;  a 
very  suggestive  and  a  very  instructive  paper,  teaching 
how  art  should  be  studied.  The  author  pretends  to  no 
peculiar  knowledge  of  artists  and  their  ways,  but  has, 
by  clear  reasoning,  reached  very  truly  artistic  conc'u- 
sions.  825 

Selvatico,  Pietro. 

Le   Arit    iiEL   DiSECNo    IN    Italia.      Parte 
Prima  ;    L'Arte    Antica.       Milan,    Vallardi, 
iS/g,  20  lire. 
This  volume  is  the  first  of  a  series  (see  under  Se  - 

vatico  and  Chirtani  and  also  Paravicini).  709 

Selvatico,  P.,  and  Chirtani,  L. 

Le  Arti  del  Disei;no  in  Italia.     Parte  Se- 
conda.  Medio  Evo.     Milan,  Vallardi.  30 lire. 
This  volume  is  the  second  of  a  series  (see  under  Sel- 
vatico and  also  Paravicini).  709 

Seymour,  Thomas  D. 

Homeric  Antujuities.     IUus.     N.   Y.,   Mac- 
millan.    .Announced  without  date. 
Prof.  Seymour  is  connected  with  Vale  University, 
and  IS  Chairman  cf  the  Managing  Committee  of  the 
.American  School  of  Classical  Studies  at  Athens. 

913.38 

Smith,  Major  R.  Murdoch. 

Persian  Art.     Lond.,  Chapman  &  Hall,  2s. 
One  of  the  South  Kensington  guide-books ;  a  little 
volume  of  only  60  pages.     It  contains  a  few  very  good 
illustrations  and  introduces  the  reader  to  the  subject. 

700 

Stendhal,  De,  (Henri  Beyle.) 

Promenades  dans   Rome.     Paris.  Delaunay, 

1829,  2  V.     Out  of  print. 

The  few  works  of  this  early  epoch  which  are  marked 
by  a  true  insight  into  fine  art  are  well  worth  reading 
even  in  our  time  of  greater  critical  knowledge.  They 
suggest  at  least  the  questions  which  were  then  seen  to 
exist,  and  which  can  never  be  answered  finally  or  to 
every  one's  satisfaction.  It  is  always  well  to  begin 
again  at  the  day  of  first  inquiry  to  see  whether  our  re- 
cent studies  have  yet  answered  all  that  is  required  of 
them.  945.6 


Stirling-Maxwell,  Sir  William. 


Annals  of  the  Artists  of  Spain.  IUus. 
Lond.,  John  C.  Nimmo,  1S91,  4  v.,  843. 
With  Cloister  Life  of  the  Emperor  Charles 
v.,  and  Miscellaneous  Essays  and  Address- 
es ;  in  all  6  v.,  N,  Y.,  Scribner,  S45. 
Spanish  art  is  very  little  known  in  Europe :  this  is 

the  only  English  book,  at  all  adequate,  devoted  to  the 


Fine  Art. 


13 


subject.  The  first  edition  was  published  in  1848,  and 
the  first  edition  uf  Velasquez  and  his  Works  by  the 
same  author  was  published  in  1855 :  the  present  work 
IS  an  enlarged  edition  containinjj  both  works  mucli  re- 
vised and  with  many  parts  rewritten.  A  very  interest- 
ing book  to  read  as  well  as  very  valuable  for  reference 

700 
Story,  William  Wetmore. 

R(ni.\  1)1  Roma.  New  cd.  Host.,  Houghttni, 
2  v.,  $2.50. 

This  book,  of  which  the  title  sig^nifie'  Roman  things, 
or  Roman  goods,  is  only  in  part  devoted  to  artistic 
matters,  it  is  capable,  however,  of  giving  a  very 
strong  and  intimate  feeling  of  the  beauty  of  the  ancient 
city  as  it  was  before  its  recent  regretable  transforma- 
tion, and  also  of  the  ruins  themselves,  which  of  late 
years  have  been  made  raore  accessible  and  have  been 
more  thoroughly  studied  than  ever  before.  The  Italian 
sense  of  the  meaning  of  Italian  art,  the  importance  of 
which  has  been  insisted  on  in  other  places  (see  Selvatico 
and  Cavallucci)  is  also  to  be  found  in  this  book,  and  it 
is  not  to  be  forgotten  that  it  is  the  work  of  a  sculptor  of 
ability  and  long  experience.  945.6 

Castle  St.  Angelo  and  The  Evil  Eye,  be- 
ing additional  chapters  to  Roba  di  Roma. 
Lond..  Chapman  <S:  Hall.  1S77,  los.  6d. 

Five  additional  chapters  which  might  with  perfect 
propriety  be  bound  in  with  the  work  entitled  "  Robadi 
Roma."  The  Castle  is  the  mausoleum  of  the  Emperor 
Hadrian,  built  by  him  to  receive  the  urns  of  his  succes- 
sors, together  with  his  own,  as  the  great  mausoleum  of 
Augustus  was  considered  to  be  fully  occupied.  During 
the  Middle  Ages  its  immense  solid  mass  of  masonry 
made  it  valuable  as  a  fortress,  and  it  was  built  upon 
Avith  two  or  three  stories  of  small  rooms,  which  served 
as  a  refug^e  for  the  Pope  in  times  of  danger.  The  rec- 
ord of  this  building,  which  fills  150  pages  of  the  present 
volume,  is  an  interesting  piece  of  architectural  history. 

945.6 

C(.)NVERSATioxs  IN  A  Sti'dio.  Bost. ,  Hough- 
ton.  1S94,  2  v.,  $2.50. 

These  conversations  deal  with  literature  and  sociol- 
ogy and  many  topics,  but  also  with  the  fine  arts  as 
they  are  looked  at  by  an  artist.  Compare  what  is  said 
About  Haraerton's  Intellectual  Life.  In  like  manner 
the  book  before  us  is  worthy  of  study  for  the  treatment 
of  the  fine  arts  as  forming  a  part  of  the  whole  world  of 
thought,  a  treatment  which  it  is  almost  impossible  to 
get  except  from  an  artist  who  is  also  a  man  of  cultiva- 
tion. 704 

Excursions  in  Art  and  Letters.  Bost., 
Houghton,  1S91,  S;i.25. 

Mr.  Story  was  an  accomplished  sculptor  and  a  prac- 
tised and  graceful  writer-  a  rare  combination.  Three 
of  the  five  papers  in  this  volume  are  of  use  to  the  stu- 
dent of  art.  The  paper  on  Michelangelo  contains  ex- 
cellent criticism,  and  that  on  Phidias  is  full  of  suggestive 
analysis  of  the  art  of  sculpture.  812 

Sturgis,  Russell. 

Article  Fine  Arts.  Johnson's  Universal 
Cyclopaedia,  ed.  of   1893-5. 

Article  Realism  in  Fine  Art,  Johnson's 
Universal  Cyclopaedia.  See  also  in  the 
same  work,  Articles  "Painting,"  "Sculpt- 
ure," and  others  on  special  topics.  In 
Parts  II..  III..  IV.  of  this  list. 

Japanese  Art,  Johnson's  Universal  Cyclo- 
paedia, ed.  of   1893-5. 

Symonds,  John  Addington. 

Renaissance  in  Italy.  N.  V.,  Holt,  7  v., 
§14.  Shurt  JIistokv  of  the  Renaissance 
IN  Italy,  selected  by  Alfred  Pearson.  N. 
Y.,  Scribner,  ?3.75. 

Without  showing  any  profound  sense  of  the  inner 
spirit  of  fine  art,  this  work  is  a  valuable  history  of  tliat 
£ideof  the  Renaissance  which  showed  itself  in  painting 
and  sculpture.  The  treatment  of  architecture  is  brief 
and  unsatisfactory.  However  inadequate,  this  remains 
the  best  history  in  English  of  the  artistic  renaissance 
in  Italy  ;  its  value  is  increased  for  the  general  student 
l)y  the  treatment  of  fine  art  as  one  o*  the  many  mani- 
testations  of  the  Renaissance.  045 


Like  of  Michfxancelo  Buonarotti.  lUus. 
Lond.,   John  C.    Nimmo,   1893,    2   v.,   21s. 

N.  Y.,  Scribner.  87.50. 

The  latest  of  the  many  lives  of  thrs  (jreat  artist,  and 
probably  the  best,  containing  what  seems  most  neces- 
sary in  the  other  books  on  the  man  and  his  time  and 
much  additional  information.  There  arc  valuable 
plates.  020 

Taine,  Hippolyte  Adolphe.  La  Philosophik 
de  l'Art  ;  la  Pmil.  de  l'Art  en  Italie  ; 
LA  Phil,  de  l'Art  dans  lks  Pays  Has  ; 
L'id6al  dans  l'Art;  and  other  essays. 
Transl.  by  John  Durand  as 

Lectures  ON  Ari.  ist  Series:  The  Philos- 
ophy OF  Art  ,  The  Ideal  in  Art.  N.  Y., 
Holt,  $2. 50.  2d  Series;  The  Philosophv 
OF  Art  in  Italy,  the  Netherlands,  and 
Greece.     N.  Y.,  Holt,  $2.50. 

These  books  Iiave  attracted  much  attention  because 
of  the  literary  reputation  of  their  author,  and  because 
of  the  simplicity  of  his  theories  and  the  ease  with  which 
ihey  can  be  {^rasped  and  remembered.  The  difticulty 
with  such  criticism  is  that  any  simple  theory  about  a 
work  of  art,  its  nature,  its  relation  to  other  works  of 
art,  and  its  place  in  the  general  world  of  art,  is  gen- 
erally a  false,  or  at  least  an  inadequate  theory.  If  a 
reader  is  thoroughly  familiar  with  any  group  of  works 
of  fine  art,  or  any  epoch  or  style  of  art,  he  will  find  Mr. 
Taine's  criticism  of  the  works  or  the  epoch  in  qutstton 
very  feeble  indeed.  It  is  clear  in  such  a  case  that  the 
soul  of  a  work  of  art  and  its  real  nature  as  its  author 
conceived  it,  and  as  his  compeers  understand  it,  are 
misunderstood  by  this  writer.  701 

Tarbell,  F.  B. 

History  of  Greek  Art.  With  introductory 
chapter  on  Art  in  Egypt  and  Mesopotamia. 
lUus.     Meadville,  Pa'.,  Flood  &  Vincent,  $1. 

709 
Tsountas,  Crestos. 

The  Mycen.ean  Age.  Transl.  from  the 
Greek,  edited  i'.nd  enlarged  by  Prof.  J. 
Irving  Manatt  and  Dr.  Barker  New  hall. 
With  about  100  illustrations.  Host..  Hough- 
ton.  Announced  for  early  in  1S97,  $6, 

Dr.  Tsountas's  original  work  is  a  recog^nized  au- 
thority. In  its  English 'dress  it  will  be  as  complete  a 
treatise  as  is  now  possible  on  that  strange  ty-pe  of  early 
art  which,  while  its  chief  remains  have  been  found  in 
Greece,  is  not  Greek  in  the  usual  sense— not  even  Greek 
of  an  archaic  period.  It  appears  that  the  book  will  con- 
tain restorations  of  the  ancient  houses  whose  remains 
have  been  discovered  and  their  elaborate  colored  dec- 
oration. 913.38 

Vasari,  Georgio. 

Le    VriE    DE    PlU    ECCELLENTT   PiTTORI,  SCUL- 

TORi  ED  Architettori.     Transl.  by  Mrs. 
Jonathan   Foster  as   Lives   of  the  Most 
Eminent  Painters.  Scflptors,  and  Archi- 
tects,   with   Notes   and    Illustrations,    etc. 
(Bohn.)     N.  Y.,  Macmillan,  6  v.,  $1  each. 
These  biographies  by  Vasari  are  the  groundwork  of 
our  knowledge  of  the  great  Italian  artists  of  the  XV 
and  XVI.  centuries.    Their  extraordinary  fame  as  com- 
pared with  the  pttpular  appreciation  of  Spanish,  Flem- 
ish, or  Dutch  artists  is  in  great  part  due  to  this  book. 
It  is  extremely  interesting,  full  of  anecdote  and  pictu- 
resque narrative,  and  gives  brilliant  pictures  of  life  In 
Italy  during  the  epoch.     The  author's  statements  of 
fact  have  often   been   found   erroneous,  and  are  fre- 
quently corrected  in  the  notes  to  this  translation.    This 
translation  is  excellent,  as  is  sufficiently  proved  by  its 
adoption  for  the  important  work  of  Blashficld  and  Hop- 
kins.    (.See  ne.xt  following  item.)  927 

Lives  of  the  Painters  ;  edited  and  anno- 
tated by  E.  H.  and  E.  W.  Hlashtield  and 
A.  A.  Hopkins,  with  48  phtHogravure  re- 
productions of  masterpieces  of  Italian  paint- 
ing and  sculpture.  N.  Y.,  Scribner,  1S97, 
4  v..  Si;. 

Si.xty  of  the  more  important  lives  in  the  Vasari  col- 


14 


Fine  Art, 


lection,  taken  (rom  Mrs.  Foster's  translation  (see  the 
previous  ritle).  and  accompanied  by  very  lull  notes. 
Both  historical  and  critical.  A  careful  examination  has 
satisfied  the  writer  that  no  more  important  Lontribulmn 
lo  art  history  has  been  offered  for  many  years  The 
Ihoroughness  of  the  research  into  the  documents  and 
the  clearness  of  the  elucidation  of  the  difficult  historical 
and  biographical  points  are  only  equalled  by  the  intelli- 
gence vvith  which  the  difficult  questions  are  designed 
and  selected  ior  attention.  The  art  inticism  is  ot  an 
unusually  high  quality,  such  a  body  of  criticism  as  is 
given  here  forms  a  very  important  adjunct  to  all  books 
of  biography,  including  the  important  biographical 
dictionaries,  which  are  apt  to  fail  m  this  respect, 

927 

Viollet-le-Duc,  E.  E. 

L'ArT  RlbSE.  SES  ORir.INES,  SES  ELEMENTS 
CONSTITUTIES.      SON     APOGEE.      SON     AVENIR. 

Paris.  Morel  &  Cie..  1877    25  fr. 

For  Russian  art.  compare  also  book  cited  under 
Maskell.  The  work  now  under  consideration  is  an 
attempt  al  a  very  thorough  and  critical  analysis  of  this 
art.  peculiar  attention  being  given  to  those  processes  of 
building  which  effect  a  decorative  result,  especially  the 
strange  and  effective  cupolas  which  take  their  typical 
construction  from  the  Byzantine  art  of  the  VI.  cen- 
tury. That  art  found  a  development  among  the  Mos- 
lems and  another  among  the  Greek  Christians  of  the 
North,  and  these  two  evolutions  of  the  Byzantine  type 
show  singular  resemblances  and  most  interesting  diver- 
gences. 709 

Waldstein,  Charles. 

The  Study  of  Art  in  Universities.     N.  Y.. 

Harper.  iSgs.  Si. 25. 

A  lecture  concerning  the  teaching  of  art  as  a  subject 
of  general  knowledge  ■  that  is  lo  say.  of  ihe  theory,  his- 
tory, and  criticism  of  art.  A  theory  broached  by  the 
author,  that  artists  should  strive  for  university  education 
in  the  ordinary  sense,  is  certainly  the  reverse  of  the 
truth;  the  contrary  proposition,  that  artists  should  begin 
the  specialized  study  of  their  art  very  early,  could  be 
maintained.     See  Nation^  Nov.  28,  189s,  p.  388. 

704 

The  Work  of  John  Ruskin  :  Its  Influence 
UPON  Modern  Thought  and  Life.  N,  Y., 
Harper.  1S93,  $1. 

The  writings  of  Mr.  Ruskin  on  the  fine  arts  are 
spoken  of  under  his  name.  The  present  book  in  its 
first  chapter,  Ruskin  as  a  Writer  on  Art.  g^ives.  perhaps, 
the  best  criticism  of  the  subject  that  exists.  Compare 
the  book  cited  under  Cook.  704 

Waring,  John  Burley. 

Stone  Monuments,  Tumuli,  and  Ornaments 
of  Remote  Ages,  with  Remarks  on  the 
Early  Architecture  of  Ireland  and 
Scotland.  Lend.,  John  B.  Day,  1S70. 
Out  of  print. 

Contains  a  great  number  of  trustworthy  drawings 
and  a  useful  text.  Perhaps  the  best  book  for  the  study 
of  prehistoric  and  undated  buildings.  913 

Watts,  Theodore. 

Article  "  Poetry,"   Encyclopaedia  Britannica. 

gth  ed. 

Should  be  read  for  the  comparison  of  different  Fine 
Arts,  as  poetry  with  painting  and  sculpture,  and  for 
the  remarks  upon  thoughts  expressible  in  painting  and 
sculpture  though  not  in  words. 

White,  John  Williams. 

Greek  Private  Life.  Illus.  N.  Y..  Mac- 
millan.  Announced  without  date. 
The  author  was  Chairman  of  the  Managing  Commit- 
tee of  the  American  School  of  Classical  Studies  at 
Athens,  and  is  Professor  of  Greek  in  Harvard  I'mver- 
sity.  913.38 

Wilson,  Charles  Heath. 

Life  and  Works  of  Michael  Angelo  Buo- 
narotti.    2d  ed.    Lond.,  John  Murray,  1881, 
15s. 
Mr.  Wilson  had  the  rare  good  fortune  to  gain  access 

to  the  scaffolding  erected  close  under  the  vault  of  the 


Sistine  Chapel  ,  he  thence  analyzed  the  processes  used 
bv  Michelangelo  m  the  frescoes  there,  which  consti- 
tute, perhaps,  the  most  imjjortam  monumeni  ol  the 
painter  s  art  m  Europe  This  would  be  a  useful  life  o( 
the  artist  even  without  the  valuable  facts  alluded  10 
above.  920 


GLOSSARIES   AND    DICTIONARIES. 


{Se. 


.\ote  at  Head  of  Part   !.) 


Adeline,  Jules. 

Lexique  des  Termes  D'Art.  (B.E.B.A.) 
Paris.  Quantin.  5  fr.  Transl.  as  Art  Dic- 
tionary. Authorized  and  enl.  ed.  N.  Y.. 
Appleton,  1S91.  ?2.25. 

So  small  a  book  can  only  give  a  few  of  the  terms 
used  in  art;  moreover,  the  translation  of  a  dictionary 
IS  peculiarly  difficult,  because  of  the  rearrangement 
necessary.  Some  terms  are  used  m  very  different 
senses  in  France  and  in  America,  as  Verandah  .  and 
these  differences  are  not  always  marked  in  this  transla- 
tion. 703 

Bryan,  Michael. 

Dictionary  ok  Painters  and  Engravers. 
New  edition,  edited  by  R.  E.  Graves. 
N.  Y..  Macmillan.  1SS6.  2  v..  S22.50. 

This  book,  in  two  large  volumes,  is  more  costly 
than  most  of  the  books  in  this  hst,  but  it  is  the  smallest 
one  in  English  iha'  can  be  recommended.  There  are 
strange  omissions  from  it,  but  on  the  whole  it  is  trust- 
worthy  Of  course,  one  does  not  look  to  such  a  book 
for  very  critical  appreciation  of  works  ot  art.  750 

Clement,  Clara  Erskine,  rt;?</Hutton,  Laurence. 
Aktisis  (»f  THE  Nineteenth  Century  anH' 
Their  VVorks.      Bost.,  Houghton.  $3. 

A  useful  book,  revised  in  the  latest  edition  10  1884. 
and  giving  brief  biographies  of  artists,  with  mention  of 
their  works.  Its  sj^ace  is  used  up  by  a  great  many 
vague  and  insignihcant  critical  notices,  the  preface 
says  that  the  "average  opinion"  has  been  sought  for. 
but  It  IS  clear  that  that  can  never  be  found.  Tenor 
twenty  lines  of  "an  average  opinion  "  on  any  artist  are 
absolutely  useless.  If  one  man  had  written  all  the 
notices  it  would  at  least  be  possible  to  get  a  comparative 
notion,  but.  as  it  is,  neither  positive  nor  comparative 
information  is  given.  927 

Harper's   Dictionary  of   Classical    Literature 
and  Antiquities. 

Edited  by  Harry  Thtirston  Peck,  M.A.. 
Ph.D.,  Professor  of  the  Latin  Language 
and  Literature  in  Columbia  University, 
New  York.  With  the  co-operation  of  many 
Special  Contributors  ;  with  nearly  1500  Il- 
lustrations, Maps,  and  Diagrams.  N.  Y., 
Harper,  $6. 

This  book,  which  is  announced  as  published  at  the 
close  of  November,  1896,  contains  biography,  geogra- 
phy, Greek  and  Roman  Antiquities,  etc..  and  will, 
necessarily,  be  very  brief  in  its  treatment  of  all  these 
subjects.  It  may  be  expected  to  be  trustworthy  and 
useful.    The  list  of  Special  Contributors  is  excellent. 

James,  Ralph  N. 

Painters  and  Their  Works  a  Dictionary  of 
Great  Artists  who  are  not  now  alive  ;  giv- 
ing their  names,  lives,  and  the  prices  paid 
for  their  works  at  auctions.  Lond.,  L.  L^p- 
cott  Gill,  small  Svo,  612  p.  N.  Y.,  Scribner. 
1S96,  3  v..  S15. 

Announced  to  be  in  three  volumes.  This  is  a  per- 
haps needed  addition  to  the  too  small  number  of  such 
books  in  English.  It  must  be  observed  that  it  does  not 
replace  books  like  Bryan,  because  excluding  Hollar, 
Pierre  Drevet,  and  Gerard  Edelinck ;  nor  books  like 
Seubert,  because  excluding  sculptors,  engravers,  archi- 
tects, and  living  artists.  It  is  hard  to  explain  the  omis- 
sion of  Couture,  Diaz,  and  Galland.  On  the  other 
hand,  some  artists  little  known  in  England  are  treated 
fully  and  m  an  open-minded  way.  750 


Painting  and  Sculpture 


'5 


IMuUer,  H.  A. 

BlOGRAPHISCHES  KCnSTI.ER-Lf.XIKON  DER  Ge- 
CENWART  Leipzig  Bibliogr.  Instttut  1SS2, 
6  marks 

A  small  book  containincr  ihe  lu'cs  of  painters  of  our 
own  Itme,  marked  by  a  very  lusl  lone  of  criticism  It 
IS  very  desirable  thai  it  should  be  translated  into  Eng 
lish  750 

Seubert,  Adolph. 

Al-LGEMEINES  K(^N'STI.F.R-Le\"1  KON,  ODER  Le- 
BEN"    UNI)    VVeKKE    DER    HEKfUMTESTEN    BlI.- 

DERN    DER     KiNSTLER.       Frankfurt    a/.M.. 
Riitten  R.  Loening,  1SS2,  3  v.,  20  marks. 

Probably  the  most  valuable  dictionary  of  artists 
which  exists,  as  the  work  of  Nagler  is  full  of  errors  and 
antiquated  as  well  as  rare  and  costly,  while  the  great 
work  which  is  to  supersede  it  comes  out  very  slowly. 
Seubert  should  be  translated  into  English  with  some 
raodiricaiions.  750 

Seyffert,  Oskar. 

DiciitiXAKV  OI--  Classical  Antiql'ities.  My- 


thology. Religion.  LiTERArrRE,  and  Art. 
From  the  German.  Revised  and  edii»d 
with  additions  by  Henry  Netlleship,  M.A. 
and  J.  E.  Sandvs.  Illus.  N.  V.,  Macmil- 
lan.  §3. 

A  smaller  and  less  expensive  book  than  the  one  cata 
logued  under  Smith  D13 

Smith,  Sii-  William,  Wayte,  William,  and  Ma- 
rindin,  G-  E. 

DiCTIO.NARY  OK   GREEK  AND    RoMAN  AnTIQII- 

TiES.  3d  ed.  Lend.,  John  .Murray.  iStji. 
2  v..  635. 

Practically  the  only  book  of  the  kind  accessible  to 
students,  and  in  spite  of  errors,  omissions,  and  inexcu- 
sable misinlerpretalions,  it  can  be  used  with  general 
confidence  That  is  to  say,  the  proportion  of  error  to 
sound  and  intelligent  explanation  is  very  small  The 
ideal  dictionary  of  classical  antiquities  seems  to  be  difti. 
cult  to  obtain  :  even  the  great  French  work  now  slowly 
coming  out  in  parts  will  be  extremely  ditlicult  to  con- 
sult, as  it  IS  divided  into  comparatively  lew  long  essays, 
and  has  no  minutely  divided  alphabetical  system.    013 


PART   II- 

PAIN'TIXG    AND   SCL'LPTL'RE. 


PRELIMINARY  NOTE  OX  PAINTING. 
Most  writing  about  the  art  of  painting  has 
been  by  persons  not  very  conversant  with  the 
actual  practice  of  the  art.  This  is  true  of  all 
the  fine  arts  :  but  it  is  especially  true  of  paint- 
ing because  this  art  is  more  popular  than 
others,  and  also  because  persons  who  expect 
to  find  literary,  narrative,  moral,  or  religious 
sentiment  in  fine  art  are  naturally  led  to  look 
for  it  most  in  painting.  The  student  should  be 
on  his  guard  against  the  discussion  of  this  art 
as  if  it  were  closely  akin  to  writing  in  prose  or 
verse.  Painting  has  its  own  language  and  its 
own  set  of  ideas,  which  are  sufficient  fur  it. 
See  Prefatory  Note. 

1'REL1M1N-\RY    .NOTE   ON   SCtlLPTURE, 
Very   little   has  been   published,   in   English, 
on  the  art  of  sculpture,  except  in  the   form  of 


treatises  on  Classical  Archjcology.  It  is  to  be 
noted,  however,  that  much  of  that  avowedly 
archaeological  writing  is  just  and  discriminat- 
ing in  its  dealing  with  sculpture.  The  art  of 
sculpture  is  far  less  misleading  to  those  who 
have  not  especially  studied  it  than  painting  is;  it 
is  much  less  complicated,  it  is  much  more  direct 
and  simple  in  its  appeal  to  the  sense  of  beauty, 
and  in  its  association  with  nature.  Moreover, 
it  does  not  appeal  so  strongly  as  painting  to 
the  popular  love  of  anecdote  and  incident  in 
art.  Those  who  wish  to  see  stories  of  bat- 
tle and  adventure,  or  of  domestic  sentiment 
and  pathos,  will  generally  choose  a  collection 
of  pictures  rather  than  a  sculpture  gallery. 
Therefore  the  common  writing  about  fine  art, 
looked  at  from  a  literary  standpoint,  is  far  less 
harmful  in  the  case  of  sculpture  than  in  paint- 
ing. 


Alexandre,  Arsene. 

A.   L.   Barye.     (L.A.C.)     Paris.  Librairie  de 

I'.Art,  iSSo,  7  fr. 

Barye  is  the  well-known  sculptor  of  wild  and  domes- 
tic animals.  The  present  biography  is  far  from  beinjj 
an  ideal  critical  work,  but  it  may  be  accepted  as  a  sufh- 
cient  description  o£  Barye's  life  and  sculpture.  Many 
illustrations.  730 

Ecole  Flamande  et  Hollandaise.     Histoire 
populaire  de  la  Pcinture,  avec  250gravures. 
Paris,  Laurens,  1S95.  10  fr. 
This  author  is  a  bookmaker    in  the  department  of 
fine  art,  and  produces  a  great  many  large  illustrated 
works.    They  have  the  fault  of  being  somewhat  popu- 
lar in  style  and  of  being  verbose:  that  is  to  say,  the 
fault  of  containing  too  much  writing  about  a  subject 
and  of  lacking  precision.    They  are  written,  however, 
«ith  an  extensive,  if  not  always  profound,  knowledge 


of  the  subject  in  hand.  They  are  always  abundantly 
illustrated,  and  serve  an  excellent  purpose  either  alone 
or  in  connection  with  more  critical  works  which  they 
supplement  and  assist.  759.9 

French  Posters  and  Rook-Covers,  In  The 
Modern  Poster.  N.  Y.,  Scribner,  iSi);. 
The  singular  branch  of  the  painting  art  which  the 
collectors  of  "posters"  are  doing  so  much  to  encour- 
age received  its  largest  development  in  Pans,  though, 
perhaps  not  originating  there.  Paper  book-covers  dec- 
orated with  designs  in  color  arc,  of  course,  more  at 
home  in  France,  where  all  books,  except  a  few  Christ, 
mas  gifl-books  and  the  like,  are  sold  unbound.  This 
article  shows  the  close  relation  existing  between  the 
decorated  book-cover  and  the  poster  in  its  ordinary 
sense     The  illustrations  are  excellent.  740 

Histoire  Poi'ii.aire  de  la  Peinti-re-  £cole 
Fran<;aise.     Paris,  Henri  Laurens,  14  fr. 
Note  what  is  said  above  under  this  author's  "  Ecole 


i6 


Painting  and  Sculpture. 


Flamande."  This  volume  contains  a  great  number  of 
wood-cuts  valuable  as  representing  pamtings  which  are 
cited  in  the  histories,  yet  are  not  often  seen  engraved. 
This  applies  especially  to  the  very  recent  works,  of 
which  there  are  a  number.  750 

HiSTOIRE      DE     LA      PeINTURE      MiLITAIRE      EX 

France.     Paris,  Henri  Laurens,  fr.  4.50. 

The  seventy-one  illustrations  m  this  little  volume 
are  all  drawn  from  interesting  originals  ;  the  history  of 
the  subject  is  taken  up  with  the  reign  of  Louis  XIV  , 
and  carried  through  to  our  own  time.  In  French  art 
so  much  excellent  technical  and  artistic  skill  has  gone 
to  battle-painting  that  a  separate  treatise  on  the  subject 
is  desirable.  The  present  one  is  hardly  complete,  but 
It  will  serve  a  useful  purpose.  750 

Jeax  Carries,  imagier  et  potter  :  Etude 
d'une  Oeuvre  et  d'une  Vie.  Paris,  Quan- 
tin,  1S95.  25  fr. 

See  what  is  said  above  under  this  author's  "  kcole 
Flamande." 

Jean  Carries  was  a  sculptor  of  great  and  unusual 
gifts,  who  died  young  in  1854,  after  having  devoted 
himself  for  twenty  years  mainly  to  decorative  work. 
Pottery  interested  him  greatly,  and  he  produced  many 

gieces  of  extraordinary  novelty  of  form  and  glaze.    The 
ook  contains  a  great  many  pictures  of  these  and  of  his 
sculpture.  730 

AUston,  Washington.     Sii-  Sweelser,  M.  F. 

Anderson,  William. 

Japanese  Wood-Engravixgs.  Portfolio  Mon- 
ograph, May,  1S95.  Lend.,  Seeley  &i  Co. 
N.  Y.,  Macmillan,  75  c. 

The  present  catalogue  is  mainly  confined  to  Euro- 

f)ean  art,  as  a  proper  consideration  of  Oriental  art 
eads  necessarily  towards  the  inclusion  of  very  costly 
books.  The  present  little  work  should  be  noted  as 
written  by  an  entirely  trustworthy  scholar,  the  author 
of  large  and  valuable  works  on  the  same  subject.  Jap- 
anese Prints  and  Color,  which  have  attracted  very 
much  attention  and  have  brought  enormous  prices  of 
late,  are  treated  here  briefly  but  well.  761 

Angelico,  Fra.     5(V  Sweetser,  M.  F. 

Armstrong,  Walter. 

The  Akt  of  William  Quiller  Orchardson. 

Portfolio  Monograph,   Feb.,   1S95.      Lond.. 

Seeley  &  Co.     N.  Y.,  Macmillan,  75  c. 

Orchardson  is  a  painter  whose  work  is  admired  by 
painters,  as  well  as  a  comjposer  of  popular  subjects  of 
romantic  and  sentimental  character.  His  genius  is 
unique  in  each  of  these  departments  •  it  is  a  great  pity 
that  so  little  of  his  work  is  to  be  seen  in  America.  Mr. 
Armstrong  is  a  very  competent  critic  and  biographer. 

750 

The  Life  of  Velasquez.  Portfolio  Mono- 
graph, July,  i8g6.  Lond.,  Seeley  &  Co. 
N.  Y..  Macmillan,  $1.25. 

The  giant  of  art,  Velasquez,  whose  life  is  written 
exhaustively  by  Justi,  whose  genius  is  discussed  elabo- 
rately by  Stevenson,  and  concerning  whom  there  is  a 
good  monograph  by  Lefort,  is  treated  here  by  an  ex- 
cellent critic  and  man  of  sound  judgment.  There  are 
four  admirable  plates  and  a  number  of  text  illustrations 
all  produced  by  photographic  processes.  750 

The  Art  of  Velasquez.      Portfolio   Mono- 
graph,  Oct.,    iSg6.      Lond.,   Seelev  &    Co. 
N.  Y.,  Macmillan,  $1.25. 
Forms  the  natural  conclusion  of  the  author's  "Life 

of  Velasquez." 

Thomas  Gainsborough.  Portfolio  Mono- 
graph, Sept.,  1S94.  Lond.,  Seeley  iN:  Co. 
N.  Y.,  Macmillan.  75  c. 

One  of  the  more  valuable  of  these  monographs.  The 
illustrations  are  excellent,  the  biography  and  criticism 
brief  and  full  of  meaning.  750 

Alfred  Stevens,  a  biographical  study.   Paris, 
Librairie  de  I'Art,  18S1,  15  fr. 
Alfred   George,  or    simply  Alfred   Stevens,  was  a 


sculptor  who,  if  he  had  lived  in  Italy  in  the  XV.  cen 
tury,  or  in  France  in  the  XVI.,  would  have  been  ons 
of  the  productive  and  famous  men  of  his  time.  He 
died  in  1875,  leaving  behind  him  no  large  and  costly 
monument  except  the  tomb  of  the  Duke  of  Wellington 
in  St.  Paul's  Cathedral.  The  story  of  his  life  and  work» 
and  the  strange  way  in  which  he  was  misused,  is  well 
told  in  this  book.     Many  illustrations.  730 

Babelon,  Ernest. 

La  Gravure  en  Pierres  Fines.  Cam£es  et 
Intailles.  (B.  E.  B.  a.)  Paris.  Quantin, 
5fr. 

Gem  engraving,  as  the  phrase  is  in  English,  included 
both  cameo-cutting  and  engraving  in  intaglio.  These 
arts  were  at  their  highest  excellence  m  antiquity,  but 
the  gems  of  the  Renaissance  are  also  beautiful,  and 
there  is  modern  work  of  value.  Mr.  Babelon  is  an  en- 
tirely competent  judge  and  historian  of  this  subject. 

760 

Bacon,  Henry. 

Pakisl\n  Art  .vnu  Artists.  Host.,  Hough- 
ton, 1SS3,  S3. 

An  account  of  the  artist-life  of  Paris,  which  is  the 
great  centre  of  art  study  in  Europe,  and,  with  this, 
notices  of  the  painters,  French  and  other,  whom  the 
author  has  thought  most  interesting  as  subjects  of  dis- 
cussion. Calculated  to  give  a  really  intelligent  sense 
of  the  general  character  of  modern  art.  especially  paint- 
ing, as  it  is  found  in  Paris. 

The  reader  is  reminded  how  much  must  be  allowed 
for  the  differences  of  opinion  even  among  the  best  in- 
formed and  most  profound  and  delicate  critics.  A 
change  of  a  few  years  in  the  date  of  an  author's  re- 
marks may  often  make  a  decided  change  in  the  point 
of  view  he  takes.  Thus,  it  is  probable  that  the  remarks 
devoted  to  Manet  as  compared  with  Alfred  Stevens 
would  be  very  different  if  written  in  1896,  instead  of 
1S82,  or  before.  In  like  manner  it  is  perhaps  to  be  re- 
gretted that  the  three  painters  of  military  subjects,  De- 
taille,  De  Neuville,  and  Elizabeth  Thompson,  now 
Lady  Butler,  should  be  treated  as  if  they  were  of  quite 
or  nearly  the  same  degree  of  merit.  700 

Baldry,  Alfred  Lys. 

Albert  Moore:  His  Lifeaxd  Works.  Lond., 
George  Bell  &  Sons.  N.  Y.,  Macmillan, 
1S94,  $22.50. 

Albert  Moore  was  a  painter  of  that  class  which  rather 
disregards  narrative  and  anecdote  and  what  may  be 
called  literary  subjects  in  paintings.  He  cared  for  color 
and  for  design  in  line  and  mass;  he  was  a  painter  of 
almost  unequalled  merit  both  technically  and  in  matter 
of  composition  and  expression.  After  his  death  in  1893 
this  handsome  volume  was  prepared  to  commemorate 
his  work.  A  great  number  of  very  beautiful  photo- 
graphic illustrations  are  included,  and  the  te.\t  is  of 
value.    See  what  is  said  under  Bell's  "  Burne-Jones." 

750 

Bastien-Lepage,  Jules,     Sic  Cartwright.  Julia. 
Bartolommeo,  Fra.     Set  Scott.  Leader. 

Bayet,  Charles. 

La  Peinture  et  la  Scclpture  Chretienne 
en  Orient.     Paris,  Thorin.  1SS9.  fr.  4.50. 

A  treatise  in  extension  or  continuation  of  the  same 
author's  work  on  Byzantine  art.  See  what  is  said  of 
the  books  by  Diehl.  750 

Beard,  William  H. 

Action  in  Art.     N.  V..  Cassell.  iSg4.  S2. 

An  interesting  book  in  very  simple  language,  and 
with  many  slight  illustrations.  It  would  be  useful  for 
the  student,  as  calling  his  attention  to  some  of  the  con- 
ventional resources  of  the  descriptive  painter  A 
great  deal  may  be  learned  from  it  of  the  way  in  which 
painters  and  illustrators  work.  707 

Beckwith,  J.  Carroll. 

CAROLi'S-Dt'RAN  :  Edouard  Manet. 

Two  articles  of  "Modern  French  Masters"  (which 
see).  The  paper  on  Manet  is  peculiarly  valuable  as 
giving  some  familiar  insight  into  the  end  sought  by 
this,  the  tirst  of  the  so-called  Impressionists. 


Painting  and  Sculpture. 


17 


Bell,  Mrs.  Arthur  (N.  D'Anvers). 

Masterpieces  of  the  Great  Artists,  a.d. 
1400-1700.       Illus.       Lond.,    Geo.    Bell    cSc 
Sons.     N.  Y..  Macmillan,  1S95,  S7.50, 
Process  plates  of  a  number  of  the  best  known  pict- 
ures in  Europe  are  given  in  this  volume;  on  their  ac- 
count il  IS  well  worth  possessing.     The  text  is  of  hltlc 
importance,  but  names  and  dates,  reasonably  well  vt.'ri- 
tied,  give  every  such  book  a  certai-  utility.  750 

Bell,  Sir  Charles. 

Anatomy  and  Philosophy  of  Expression  as 
CoNNECTFji  ^VITH  FiNE  Art.  Ed.  (Bohn.) 
N.  v.,  Macmillan,  $1.50. 

This  celebrated  book  still  retains  its  utility;  its 
views  should  be  compared  with  those  in  Hamerton's 
**  Man  in  .A,rt,"  Beard's  "  Action  in  Art,"  and  Darwin's 
''  Expression  of  Emotions  in  Man  and  Animals."  The 
illustrations  are  deservedly  esteemed.  700 

Bellj  Malcolm. 

Sir  Edward  Burne-Jones.  Lend..  George 
Bell  iS:  Sons.     N.  Y.,  Macmillan,  1895,  ^:y. 

First  published  in  1892 ;  the  present  is  the  second 
edition-  Burne-Jones  is  the  chief  living  representative 
of  that  kind  of  painting'  which  was  once  called  Pre- 
Raphaelite,  or.  or  its  natural  development.  Differences 
of  opinion  as  10  the  value  of  this  artist's  painting  must, 
of  course,  exist  and  must  be  very  positive  and  decided. 
This  book  represents  his  pictures  and  drawings  as  well 
as  can  be  done  in  black  and  white  and  in  about  100 
illustrations.  It  is  suggested  that  this  book,  Mr.  Rhys's 
book  on  Leighton,  and  that  of  Baldry  on  .Albert  Moore, 
be  compared,  especially  in  their  illustrations,  as  a  good 
way  of  forming  an  idea  of  the  great  variety  observable 
in  modern  English  painting.  750 

Benedite,  lieonce. 

Le  MfsEE  Du  Luxembourg.  Avec  gravures 
et  5  planches  hers  texte.  Paris.  Librairie 
d'An,  1S94,  iS  fr. 

The  Museum  of  the  Luxembourg  is  peculiarly  im- 
portant to  students  as  containing  what  have  been 
thought  from  time  to  time  the  masterpieces  of  French 
painting  and  sculpture.  There  are  other  works  in 
which  tne  treasures  of  this  museum  are  engraved  and 
described,  but  this  is  the  most  recent.  708.4 

BenjamiUj  S.  G.  W. 

Art  in  America:  a  Critical  and  Historical 
Sketch.  N.  V..  Harper.  1S80.  Out  of 
print. 

The  appreciation  of  different  artists  and  their  pecu- 
harities  is  worthy  of  praise.  It  is.  therefore,  valuable 
for  a  history  of  painting  and  sculpture  in  America  dur- 
ing the  years  previous  to  1S80.  704 

Beraldi,  Henri. 

LeS      GraVEURS       Dir      DiX-NEUVliiME      SlKCLE. 

Paris.  Morgand  tS:  Fatout,  1SS2,  3  v.,  90  fr. 

The  numerous  works  intended  for  the  guidance  of 
the  student  and  collector  of  ancient  prints  cannot  be 
named  in  this  catalogue,  The  old  engravers  in  almost 
all  cases  are  considered  in  special  works  both  critical 
and  biographical.  This  work  on  the  artistic  engravers 
of  our  own  day  has  a  peculiar  utility  in  presenting  the 
names,  and  works,  of  men  who  are  not  as  yet  so  well 
known  to  the  written  history  of  art.  760 

Berenson,  Bernhard. 

Venetian  Painters  of  the  Renaissance  : 
With  an  index  to  their  works.  N.  Y.,  Put- 
nam, 1S95,  £1.25. 

Mr.  Berenson's  works  on  art  have  made  a  remark- 
able impression  on  thinking  people  ;  the  one  before  us 
is  a  little  pamphlet  of  80  pages,  to  which  is  added  a  clas- 
sified list  of  the  works  of  Venetian  Masters  occupying 
60  pages  more,  the  place  where  each  picture  is  to  be 
found  being  mentioned.  It  must  be  understood  that 
the  text  of  the  book  itself  is  not  at  all  of  the  nature  of  a 
catalogue,  It  is  a  sympathetic  examination  into  the 
hi<'ory  and  true  natui^e  of  Venetian  painting.      759.5 


The  Florentine  Painters  of  the  Renais- 
sance :  With  an  index  to  their  works. 
N.  Y.,  Putnam.  1396,  Si. 

A  book  in  all  respects  like  the  "  Venetian  Painters." 
We  are  promised  also  two  other  similar  volumes,  one 
on  the  central  Italian  painters  and  one  on  the  north 
Italian  painters,  thus  making  a  treatise  in  four  volumes 
on  the  painters  of  the  Renaissance.  759.5 

Lorenzo  Lotto  :  an  essay  in  constructive 
art  criticism.  N.  Y..  Putnam.  1S95.  $3.50. 
The  two  books  described  above  are  small  handbooks; 
the  present  one  is  a  square  octavo  volume  ol  350  pages, 
devoted  to  a  close  examinaiitjn  of  the  works  of  a  little- 
known  painter  who  lived  from  1480  10  1312. 

This  is  a  monograph  of  unusual  merit,  containing  an 
amount  of  original  research  which  few  such  books  have 
required.  It  is  illustrated  by  about  25  photographic 
plates,  and  text  and  illuslratii>ns  together  bring  the 
student  very  close  to  the  spirit  of  early  Itahan  painting. 

704 

Bertrand,  Alexis. 

Fran(;ois  Rcde.  (L.  A.  C.)  Paris.  Librairie 
de  I'Art,  1SS8,  fr.  7.50. 

Of  this  great  sculptor  there  is  an  admirable  notice 
in  Hamerton's"  Modern  Frenchmen,"  given  in  this  list. 
The  present  work  is  adorned  with  some  excellent  illus- 
trations of  Rude's  work  and  with  two  portraits  of  the 
man.  There  is  no  modern  sculptor  with  whom  it  is 
easier  to  sympathize  than  Rude,  and  whose  work  has  a 
greater  charm.  730 

Blackburn,  Henry. 

Randolph  Caldecott.  a  personal  memoir  of 
his  earlv  art  career.  Illus.  N.  Y.,  Rout- 
ledge.  rsS6,  ?3. 

Caldecott  was  one  of  the  most  original  and  vigorous 
of  modern  artists  in  book  illustration.  There  is  as  yet 
no  other  biography  of  him  than  this  ver>'  interesting 
and  instructive  book.  700 

Blake,  William.     See  Gilchrist,  A. 


Blashfield,  E.  H. 

Leon  Bonnat  :  Jeax-Pavi.  Lai'rens. 

Two  papers  forming  part  of  "  Modern  French  Mas- 
ters," which  see.  The  article  on  Bonnat  contains  a  great 
deal  of  anecdote  about  artist-hfe  in  Paris,  but  has  a 
great  deal  of  artistic  criticism  mi.'sed  with  it.  In  the 
case  of  Laurens  the  critic  had  the  difficult  task  of  criti- 
cising an  artist  who  is  too  much  of  a  story-teller,  loo 
much  of  a  narrator,  to  be  a  perfectly  sound  and  true 
modern  painter,  and  also  one  who,  as  is  here  stated, 
has  no  power  of  representing  movement,  and  who  is 
still  a  man  of  prodigious  ability  In  each  of  these 
cases  we  wish  for  a'more  fearless  critical  treatment. 
Mr.  Blashtield's  power  as  critic  is  fully  shown  in  his 
edition  of  Vasari,  which  see. 


Bouchot,  Henri. 


(B.    E.    B.    A  )      Paris, 


La    Lithogracmie. 

Ouantin,  5  fr. 

One  of  the  books  of  an  excellent  series,  and  not  in- 
ferior to  the  others.  Even  the  reproductions,  though 
on  so  small  a  scale,  arc  of  utility  to  the  student.  Lithog- 
raphy, introduced  during  the 'first  quarter  of  the  pres- 
ent century,  is  an  art  as  closely  dependent  upon  the 
artist's  own  eye  and  hand  as  etching  itself.  It  is 
greatly  to  be  regretted  that  photography  has  caused  a 
comparative  abandonment  of  this  art  for  popular  illus- 
tration. 763 

Bracquemond. 

Dtr  Dessin   et   de   la   Couleur.     Paris.    G. 

Charpentier  &  Cie..  18S5.  fr.  3. 50. 

Bracquemond  is  a  painter  who  has  given  much  at- 
tion  to  decorative  art,  and  he  is  also  an  etcher  of  very 
widespread  reputation  This  volume  is  a  far  more  an- 
alytical treatise  than  those  of  his  brother  painters  Cou- 
ture and  Fromentin,  and  is  less  imaginative  and  inter- 
esting :  It  IS  in  fact  a  te.xt-book  from  which  much  can 
be  learned.  707 


i8 


Painting  ami  Sculpture. 


Brilcke,  Srnst. 

The  Human  Figure:  Its  Beauties  and  De- 
I'ECTS.  With  preface  by  Wm.  Anderson. 
Lond.,  H.  Grevel  &  Co.,  1S91,  7s.  6d. 

A  handbook  calculated  to  be  of  very  great  use  to 
the  student  of  figure-painting,  as  a  subject  to  be  studied 
for  enjoyment  and  cultivation.  Whether  any  hand- 
books are  of  any  use  to  the  practical  student  of  the 
figure  is  extremely  doubtful.  See  what  is  said  of  Mr. 
Hatton's  book  in  this  list.  707 

Bunner,  H.  C. 

American  Posters,  Past  and  Present.  In 
The  Modern  Poster.     N.  Y..  Scribner,  1S95. 

In  this  paper  Mr.  Bunner  has  gone  further  back  into 
a  highly  inartistic  past  than  the  authors  of  other  articles 
in  this  volume.  It  is  almost  as  interesting  as  history, 
though  the  pictures  are  reproductions  of  the  ugliest 
possible  originals— or  half  of  them  are.  740 

Burckhardt,  J. 

The  CrcERONK:  Paintings  in  Italy.     Lond., 
Murray,    1879.      Out   of   print.      A  French 
edition,  Paris,  Didot,  2  v.,  25  fr. 
Has  been  in  use  for  years  as  a  guide-book  of  the 

higher  class  much  used  by  studious  travellers  in  Italy. 

708.5 

Burne-Jones,  Sir  Edwrard.     See  Bell.  Malcolm. 

Caldecott,  Randolph,     Scf  Blackburn.   Henry. 

Callot,  Jacques.     Sec  Vachon,  M. 

Carpaccio.     See  Molmenti.  P.  G. 

Carpeaux,  J.  B.     See  Chesneau.  Ernest. 

Cartwrightj  Julia  (Mrs.  Henry  Ady). 

Jules  Bastien-Lepage.  Portfolio  Monograph, 
April,  iSg4.  Lond.,  Seeley  &  Co.  N.  Y., 
Macmillan,  75  c. 

Four  splendid  photo-engravings  and  a  number  of 
half-tones  help  in  the  notice  of  this  great  realist.  See 
also  Mr.  Weir's  paper  in  "  Modern  French  Masters." 

705 

Jean  Francois  Millet:  His  Life  and  Let- 
ters. Lond.,  Swan  Sonnenschein  &  Co. 
N.  Y.,  Macmillan,  1896,  $5. 

The  authoress  has  combined  the  inforraafion  gath- 
ered from  the  books  of  Sensier  and  Piedagniel  and 
much  information  from  articles  in  the  American  maga- 
zines, together  with  a  number  of  Millet's  letters.  The 
result  IS  a  very  good  and  satisfactory  treatise  on  the 
man;  it  may  be  thought  that  it  is  not  made  very  clear 
T^hat  are  the  causes  of  the  wonderful  fascination  which 
Millet's  painting^  has  exercised  over  his  contemporaries. 
There  are  nine  illustrations  fairly  successful  in  giving 
an  idea  of  as  many  of  the  artist's  masterpieces. 

700 

Raphael.  N.  Y.,  Macmillan,  1S95.  2  v.,  75  c. 
each. 

Made  up  of  the  Portfolio  Monographs  for  Jan.  and 
Aug.,  1895  ;  contains  a  brief  record  of  Raphael's  career, 
in  which  the  attribution  of  paintings  to  himself  and  to 
others  is  based  upon  the  best  authorities;  the  general 
estimate  is  just.  The  needed  illustrated  work  upon 
Raphael  has  not  yet  appeared  ;  in  the  meantime  the 
illustrations  in  this  book,  and  in  Kiiroly's  Madonnas, 
taken  with  the  text  of  this  volume,  serve  a  temporary 
purpose.  705 


Cavallucci,  C.  Jacopo. 

Manuale  ni  SroRiA  della  Scultura. 
Ermanno  Loescher,  6  lire. 


Turin. 


A  brief  historical  record  with  80  valuable  illustrations. 

See  Selvatico,  "  Le  Arti  del  Disegno,"  for  the  reason 
why  books  in  Italian  should  be  sought  for  and  studied 
when  they  prove  to  be  good.  Italian  sculpture  in  the 
Roman  Imoerial  epoch  was  of  importance  in  the  history 
of  art,  and  from  1250  to  1550,  or  thereabout,  Italian 


sculpture  stood  at  the  head  of  aM  that  was  done  in  Eu- 
rope, forming  a  body  of  art  second  only  to  that  pro- 
duced by  the  Greeks  of  the  Great  Period.  The  modem 
Italian  view,  when  careful  and  critical,  is  esoecially  to 
be  asked  to  correct,  or  confirm,  the  conclusions  of 
writers  in  French,  German,  and  English.  730 

Century  Gallery. 

Selected  Proofs  from  the  Century  Maga- 
zine and  St.  Nicholas.  N.  Y.,  Century 
Co..  1893,  $10. 

A  portfolio  of  proof  impressions  of  wood-cuts.  The 
art  of  wood-engraving  has  been  developed  m  a  peculiar 
way  in  the  United  States,  and  the  Century  Magazine 
(called  Scribner'' s  Monthly  before  i83o  or  iSSr)  has  been 
especially  the  leader  in  this  development.  Compare 
the  volumes  described  under  Cole  and  Stillman  and 
Cole  and  Van  Dyke.  This  pecu'iar  American  wood- 
engraving  comprises  much  that  is  beautiful  and  truly 
artistic.  705 

Ohapinj  Willis  O. 

Masters  and  Masterpieces  of  Engraving, 
N.  Y.,  Harper.  1893,  $10. 

Both  in  its  text  and  illustrations  this  book  is  useful 
to  those  who  wish  to  begin  the  study  of  prints.  The 
illustrations  are  reproductions  in  fac-simiie.  or  reduced, 
of  important  prints  in  different  kinds.  Wood-engraving 
as  well  as  engraving  on  metal  is  included.  769 

Chapu.     See  Fidiere,  O. 

ChesneaUj  Ernest. 

Artistes  Anglais  Contemporains  ;  J-  E- 
Millais.  E.  Burne-Jones.  etc.  Paris,  Li- 
brairie  de  I'Art.  18S2,  25  fr. 

See  what  is  said  of  this  critic  under  '*  L't-ducation  de 
r Artiste,"  in  Part  I.  His  criticisms  of  English  art  have 
been  marked  by  an  insight  into  its  significance  which 
is  very  surprising  in  a  Continental  author.  700 

Joshua  Reyonlds.  (L.A.C.)  Paris,  Librai- 
rie  de  I'Art,  1SS7,  fr.  3.50. 

Chesneau  has  given  an  amount  of  attention  to  En  - 
lish  art  very  rare  with  a  Continental  student.  The 
present  analysis  of  the  work  of  a  painter  who  just 
missed  greatness,  and  who  will  be  a  fascinating  st  jdy 
as  long  as  his  pictures  last,  is  to  be  recommended  be- 
yond most  brief  artistic  biographies.  700 

La  Peinture  Anglaise,  Transl.  by  L.  M. 
Etherington  as  The  English  School  of 
Painting.  Edited  by  John  Sparkes.  with 
a  preface  by  Prof.  Ruskin.  N.  Y.,  Cassell, 
1 895.  $2. 
See  what  is  said  of  this  excellent  writer  under  other 

titles .  the  translation  m  this  case  is  probably  careful 

759.2 

Le  Statuaire  J.  B.  Carpeau.x,  sa  vie  et  son 
CEUVRE.      Paris,  Quantin,  1880.  25  fr. 

One  of  the  best  of  the  monographs  of  recent  artists, 
and  fortunately  not  an  expensive  book.  Contains  a 
number  of  valuable  illustrations.  If  not  the  greatest 
of  the  French  sculptors  of  our  own  time,  Carpeaux  is 
one  of  the  most  characteristic,  powerful,  and  original. 
He  is  perhaps  best  knov.-n  by  the  interesting  fountain 
in  the  Gardens  of  the  Luxembourg,  where  a  group  of 
four  figures  representing  the  four  parts  of  the  world 
support  a  well-imagined  structure  representing  the  as- 
tronomical sphere,  and  also  by  the  group  on  the  new 
opera  house  in  Paris,  "  La  Danse,"  which  group  was 
defaced  by  having  ink  thrown  at  it  soon  after  its  com* 
pletion.  730 

Ohildj  Theodore. 

Art  and  Criticism:  Monographs  and  Stud- 
ies.    N.  "Y.,  Harper.  S6. 

A  dozen  papers  about  different  detached  phases  of 
painting,  ancient  and  modern,  and  a  few  words  about 
sculpture.  There  is  a  serious  lack  of  exact  comprehen- 
sion of  art  as  a  special  and  peculiar  means  of  expres- 
sion, and  errors  occur,  hard  to  account  for,  but  a  good 
general  impression  can  be  got  in  each  case.  Good  and 
well-chosen  illustrations.  The  chapter  on  the  Impres- 
sionists is  very  good.  704 


Painting  and  Sculpture. 


19 


•Clarac,  CharleSj  Comtt-  de. 

MrSEE   1>E  ScrLI'TURE.  ANTIQUE  ET   MODERNT.; 

Description,  histokique  et  graph i(,)rK. 
DU  LorvRE  E'r  de  toutes  ses  parties. 
Paris,  Texier.  1S26-53.  320  fr.     Out  of  print. 

6  V.  octavo  of  text.    6  v.  oblon<x  of  plates. 

Contains  outline  drawings  of  several  thousand  works 
of  sculpture,  ancient  and  modern,  including  many 
which  have  never  been  in  the  l.ouvre.  The  text  lias 
historical  value  and  tells  vvhat  parts  are  restored.  Al- 
thout^h  not  easy  to  consult,  it  is  of  ^reat  value  as  a 
book  of  reference,  since  no  other  similar  work  exists. 
The  student  will,  of  course,  not  take  these  outlines  as 
adequate  representations  of  the  works  of  art.  730 

•Clement,  Charles. 

Decamps.  (L.A.C.)  Paris,  Librairie  de  I'Art, 
1SS6,  fr.  3.50. 

A  raonocraph  on  a  paintef  so  recent  that  he  has  not 
as  yet  reached  his  assured  place  in  art.  Information 
concerning^  such  artists  is  especially  difficult  to  obtain. 
A  trustworthy  biog^raphy ;  the  illustrations  are  most 
characteristic,  some  of  them  being  denoted  to  carica- 
tures by  the  master.  750 

Clement,  Clara  Erskine. 

Handbook  <^v  Christian  Symbols  and  Sto- 
ries OK  the  SAINT.S  AS  ILLUSTRATED  IX  ArT. 
Edited  by  Katherine  E.  Conway.  Host., 
Houghton,  1S95,  §2. 

Handbook  of  Legendary  and  Mythological 
Art.     Best..  Houghton.  1S95,  $3. 

These  two  books  are  intended  to  explain  to  those 
who  study  paintings  representing  Christian  legend  the 
meaning  of  the  symbols  employed  and  the  traditional 
history  of  the  sainted  personages  represented.  In  this 
resoect  the  books  are  like  the  works  of  Lord  Lindsay 
and  Mrs.  Jameson.  A  really  adequate  treatiii^e  on  this 
■subject  would  take  the  form  of  a  great  encyclopaedic 
work  of  many  volumes,  and  would  involve  an  amount 
■of  study  in  preliminary  investigation  and  arranging 
which  it  IS  probable  that  no  one  will  undertake.  Some 
idea  of  the  necessary  labor,  cost,  and  time  required  for 
the  v/ork  can  be  gathered  by  comparison  with  Rohault 
de  Fleury's  work,  "  La  Messe,"  and  its  continuation, 
■*'  Les  Saints  de  la  Messe,"  which  two  works  extend  to  12 
volumes  in  quarto,  with  hundreds  of  large  plates.  Nor 
will  it  be  possible,  until  such  an  exhaustive  work  shall 
have  appeared,  to  prepare  a  handbook  that  shall  be 
really  trustworthy.  In  the  meantime  the  books  under 
consideration  will  not  lead  one  very  far  astray,  and 
will  give  at  all  events  the  commonly  received  explana- 
tion, which  may  often  be  all  that  is  required.  703 

Coffin,  WilUam  A. 

American  Illi^strations  of  To-Day.  Scrib- 
nei-'s  Magazine,  Jan.,  Feb..  and  March,  1S92. 

These  papers  contain  a  great  deal  of  sound  discussion 
of  the  peculiar  character  of  Illustration  as  a  tine  art, 
and  of  drawings  not  strictly  Illustration  which  seem  so 
■or  are  called  so  because  inserted  in  books  and  pe.'iod- 
icals.    See  ne.\t  title, 

A  Word  About  Painting.     Scrihncrs  Maga- 

zhn\  April,  1S94. 

Mr.  Coffin  is  one  of  the  very  few  painters  who  write 
about  the  art  which  Ihey  follow.  He  is  a  judicious 
critic,  not  the  stave  of  schools  or  of  the  opinions  of  his 
own  allies  and  friends  among  artists.  His  writings 
may  be  studied  with  great  profit. 

Theodore  Rousseau  ;  Pascal  Dagnan-Bou- 

YERET. 

Two  articles  of  "  Modern  French  Masters,"  which 
s:;e. 

Mr.  Coffin's  critical  work  is  of  singular  value;  it  is 
tomd  and  yet  easily  intelligible.  These  two  papers 
de  ■'  with  one  master  of  the  late  and  one  of  the  present 
feneration,  each  famous  and  powerful,  each  of  almost 
the  highest  rank. 

Colfij  Timothy. 

Old  DncH  and  Flemish  Masters  engraved 
by    Timothy   Cole  :    with    critical    notes  by 


John   C.   Van   Dyke,  and  commenls  by  the 
engraver.     N.  Y.,  Century  Co..  1S95.  $7.50. 

Sec  what  is  said  of  Mr.  Cole's  wood-engraving  under 
"Old  Italian  Masters."  The  mUcs  by  Mr.  Van  Dyke 
have  been  carefully  prepared,  and  emnody  a  good  ac- 
count of  the  painting  of  the  Netherlands.  See  what  is 
said  of  this  writer  under  the  titles  of  his  other  works, 

708.9 

Old  Italian  Masters  engraved  by  Tim<tthy 
Cole;  with  historical  notes  by  W,  J.  Still- 
man,  and  brief  comments  by  the  engraver. 
N.  Y..  Century  Co.,  1892,  §10. 

The  wood-cuts  by  Mr.  Cole  from  paintings  in  Italy 
were  made  in  the  presence  of  the  paintings,  and  are 
unique  in  two  ways  :  they  are  among  the  very  highest 
achievements  of  wood-engraving  ;  they  render  the  orig- 
inals with  a  sympathy  and  an  essential  truthfulness 
hardly  ever  reached  in  reproducti<m  of  any  sort.  This 
book  and  its  mate,  whose  title  precedes,  constitute  pict- 
ure galleries  of  the  highest  value.  Mr.  Stillman's  notes 
are  the  work  of  a  man  familiar  witli  Italian  painting; 
they  were  prepared  with  care,  and  with  a  knowledge 
of  the  best  and  the  most  recent  authorities.  Notes  are 
added  by  the  engraver  which  ought  to  be  carefu'ly 
studied  ;  there  are  other  notes  by  Mr.  C.  F.  Murray. 
who  is  at  once  a  painter  and  a  dealer,  who  is  a  recog- 
nized authority  on  Italian  painting.  708.5 

CoUignon,  Maxiire. 

IIisToiKK  i>K  LA  SCULPTURE, Grecque.  Paris. 
Firmin-Didot  lS:  Cie.,  I'Aiji,  30  fr. 

Only  the  first  volume  has  appeared  of  this  excellent 
and,  in  a  sense  and  for  a  time,  final  history  of  Grec*^ 
sculpture.  It  deals  with  the  art  before  the  time  of 
Pericles;  but  this,  as  the  reader  should  remember,  in- 
cludes, by  the  common  consent  of  archaeologists,  such 
perfected  work  as  the  Spear-bearer  (Doryphoros)  of 
the  Naples  museum;  the  b  illet-tier  (Diadumenos)  of  the 
British  Museum,  the  Amazon  of  the  Vatican,  the  so- 
called  Idolinoof  the  Florence  Gallery,  the  Disc-thrower 
(Discobolus)  of  the  Palazzo  Lancelotti,  and  other  works 
of  like  importance.  The  .sculpture  of  the  temple  of 
Zeus  at  Olympia,  and  that  of  the  temple  at  .i^gena,  are 
iiere  also,  and  of  course,  archaic  pieces  such  as  the 
most  interesting  painted  statues  found  on  the  Acropolis 
in  1883  and  1886.  The  illustrations  of  all  these  are  nu- 
merous and  fine.  If.  therefore,  the  work  should  ne*'er 
be  carried  farther,  it  is  complete  within  its  limits  and 
of  the  highest  value.  See  excellent  notice  in  Am. 
Journal 0/ ArchiEoiogy,  Vol.  VIII.,  p.  87.  730 

Phidias.     (L.A.C.)    Paris,  Librairie  de  I'Art, 

1886,  fr.  3.50. 

Has  been  translated  into  English  by  Miss  Frothing- 
ham.  The  original  contains  a  number  of  fairly  satis- 
factory illustrations.  The  reader  should  not  forget 
that  no  single  work  of  art  wliich  has  been  preserved 
can  be  said  to  be  the  work  of  !*hidias.  and  that  all 
treatises  upon  his  art  are  in  a  sense  conventional  as 
being  critical  remarks  upon  a  body  of  ancient  sculpture 
which  the  modern  world  has  agrt-cd  to  call  Piiidian 
for  reasons  which,  perhaps,  are  sufficient.  730 

Conway,  Sir  William  Martin. 

Early  Flemish  Artists  and  Their  Prede- 
cessors ON  THE  Lower  Rhine.  N.  Y., 
Macmillan,  18S7,  %-z.^o. 

A  carefully  compiled  work  on  a  subject  which  has 
always  interested  students.  Compare  works  mentioned 
under  Crowe  and  Cavalcasellc  and  Kugler,  as  well  as 
monographs  on  special  artists.     Many  illustrations. 

750.9 

Cook,  Edward  T. 

Popular  Handbook  ok  ihe  Naiional  Gal- 
lery. N.  Y.,  Macmillan,  1S88.  Out  of 
print. 

A  model  guide  to  a  picture  gallery,  its  point  of  view 
in  criticism  Deing  at  once  admitted,  and  it  is  to  be  de- 
sired that  every  important  collection  should  be  eluci- 
dated and  explained  in  a  similar  way. 

Contains  a  great  many  extracts  from  Ruskin's  works, 
has  a  preface  by  him,  and  might  be  assumed  to  be 
written  from  the  critical  point  of  view  of  that  celebrated 
writer.  That,  however,  is  not  entirely  the  case.  The 
accounts  of  the  different  artis>i  and  the  remarks  upon 
the  qualities  of  their  art  are  full  of  soundness  and  c.car 
insight.  There  is  also  an  attempt  to  compare  the  opin- 
ions of  competent  critics.  708.2 


Painting  and  Sculpture. 


Corot,  Camille. 

PkTIT    AlIU'M    CLASSIQUE    pes    CHEFS-D'rEUVRE 

DE  CoROT  ;  40  reproductions  des  principales 
oeuvres  du  maitre  dans  Ics  musses  ou  col- 
lections particulieres;  textc  par  Roger-Miles. 
Paris  and  N.  Y..  Hraun  Clement  Cie..  1S95, 
Si. 50. 

This  inexpensive  little  collection  of  photographic  re- 
productions gives  forty  pictures  of  the  man  whom 
many  persons  think  the  greatest  landscape  painter  of 
modern  times.  Corot  is  Jiardly  this,  because  his  art  is 
very  limited  in  its  character,  but  it  is  of  unrivalled 
beauty  in  its  chosen  way.  Although  the  charm  of  color 
is  the  greatest  charm  in  Corot's  pictures,  they  are  still 
fine  when  translated  in  black  and  white,  for  their  beauty 
of  line  and  mass  is  unsurpassed.  759.4 

Albi^m  pu  centen.aire  DE  Camille  Corot, 
comprenant  50  photogravures  d'apres  les 
principales  oeuvres  du  maitre.  Texte  ex- 
pjicatif  par  Ch.  Formentin  et  Roger-Miles. 
Etudes,  sonnets,  poesies  diverses,  par  les 
principaux  ecrivains  et  poetes.  Paris  and 
N.  Y.,  Braun  Clement  Cie.,  1S95. 

See  what  is  said  in  next  preceding  note  under  "  Petit 
Album  classique  deschefs-d'ceuvresde  Corot  "  ;  one  of 
these  books  can  be  procured  if  the  other  cannot. 

See  also  under  Thomson,  D.  C.  759.4 

Correggio.     Sec  Ricci,  C, 

Courajodj  Louis. 

Les  Origines  de  l'art  moderne.  le^on  d'ou- 
verture  du  cours  d'histoire  de  la  sculpture 
du  moyen  age.  de  la  Renaissance  et  des 
temps  modernes  ;  a  I'^cole  du  Louvre, 
1S93-94.     Paris,  Leroux,  1S94.  fr.  3^50. 

This,  with  the  book  next  cited,  forms  part  of  a  his- 
tory of  modern  sculpture  which  will  be  of  considerable 
value.  It  must  be  understood  that  the  sculpture  which 
has  its  centre  in  Paris  and  which  forms  a  great  school 
of  art,  very  independent  in  its  methods  and  original  in 
some  of  its  attainments,  is  as  fully  important  as  the  cor- 
responding school  of  painting.  Sculpture  13  generally 
less  popular  than  painting,  but  that  only  makes  the 
study  of  it  the  more  important  to  one  who  wishes  to 
understand  modern  art.  Mr.  Courajod  is  well  known 
as  an  archaeological  student  m  matters  connected  with 
the  tine  arts,  and  especially  with  the  vast  collections  of 
the  Louvre.  730 

L'histoire  du  departement  de  la  sculpture 
moderne  au   Musee  du  Louvre.      Paris, 
Leroux.  1894,  fr.  3.50. 
This  book  is  to  be  considered  in  connection  with  the 

work  named  next  above.  735 

Couttire,  Thomas. 

Mkthode  et  entretiexs  d'atelier.  Paris, 
Published  by  the  author,  1S67,  7  fr. 

Couture  was  a  most  able  painter,  concerning  the 
quality  of  whose  art  there  will  always  be  great  differ- 
ences of  opinion.  He  died  in  1879,  leaving  behind  him 
but  little  work,  yet  that  little  sure  to  command  the 
closest  attention  from  students  of  painting.  He  left 
two  small  books  containing  his  impressions  and  opinions 
about  his  art ;  these  would  be  of  singular  value  to 
criticism  even  if  the  words  of  able  pamters  were  not  so 
seldom  recorded  for  our  use.  751 

Paysage  :     Entretiens    d'atelier.       Paris, 
Published  by  the  author,  1S69,  4  fr. 
See  next  preceding  note.  751 

Cox,  Kenyon. 

Puvis  de  Chavanxes  :  Paul  Baudry. 

In  "  Modern  French  Masters,"  which  see.  Mr.  Cox, 
who  has  given  special  attention  to  mural  painting,  and 
who  IS  a  practised  and  a  very  able  writer  on  artistic 
subjects  of  many  sorts,  treats  in  these  two  papers  the 
two  men  who  are  probably  the  most  powerful  painters 
of  large  compositions  for  decorative  purposes  of  all  the 
modern  world. 


Crowe,  Sir  Joseph  A. 

Handbook  ov  PAiNTiNr::  the  German,  Flem- 
ish, and  Dutch  Schools,  based  on  the 
handbook  of  Kugler.  In  two  parts.  Lend.. 
John  Murray,  1SS9,  24s. 

Almost  entirely  a  new  work,  based  upon  the  Waagen 
edition  of  Kugler  but  remade,  with  omissions  and  ad- 
ditions. There  is  no  better  book  for  the  study  of  the 
earlier  painting  of  the  north  of  Europe.  759 

Crowe,  .S7;-  Joseph  A.,  aiui  CavalcasellCj  G.  E. 

New  History  <if  Painting  in  Italy  fkum 
the  II.  TO  XVI.  Century.  Drawn  up  from 
materials  and  recent  researches  in  the 
archives  of  Italy,  as  well  as  from  personal 
inspection  of  the  works  of  art  scattered 
throughout  Europe.  Lond.,  John  Murray, 
1S66,  3  v.,  63s.      Out  of  print. 

The  four  principal  works  by  these  authors,  namely, 
those  devoted  to  Italian  art,  are  books  which  it  is  im- 
possible to  dispense  with  in  any  library  devoted  to  fine 
art.  They  are  very  voluminous,  the  matter  is  not  skil- 
fully arranged,  and  many  of  the  ascriptions  have  been 
disputed  by  good  judges.  But  there  is  no  encyclopaedia 
of  Italian  art  which  contains  the  result  of' so  much 
labor  and  of  so  large  and  personal  and  immediate 
knowledge  of  the  paintings  themselves.  The  books 
are  sometimes  difficult  to  obtain  and  vague  promises  of 
revised  editions  have  been  made.  759.5 

History  of  Painting  in  North  Italy,  Ven- 
ice, Padua,  Vicenza,  Verona,  Ferrara, 
Milan,  Friuh,  Brescia,  from  the  XIV. 
■10  THE  XVI.  Century.  Lond.,  John  Mur- 
ray, 1S71,  2  v.,  42s.     Out  of  print. 

See  what  is  said  of  this  and  the  other  works  by  the 
same  authors  under  '*  History  of  Painting  in  Italy." 

759.5 

Raphael:  His  Life  and  Works.  Lond., 
John  Murray,  1SS5,  2  v..  33s. 

See  what  is  said  of  this  and  the  other  works  by  the 
same  authors  under  '*  History  of  Painting  in  Italy." 
Apart  from  its  value  as  an  analysis  of  Raphael's  art 
and  an  account  of  its  relation  to  the  art  of  his  time, 
this  IS  a  most  interesting  and  instructive  book,  at  once  a 
romance  and  a  valuable  piece  of  history.  750 

Titian  :  His  Life  and  Times,  with  some  ac- 
ccjunt  of  his  family.  lUus.  Lond.,  John 
IMurray,  1S77.  2  y.,  21s. 

See  what  is  said  of  this  and  the  other  works  oy  the 
same  authors  under  "History  of  Painting  in  Italy." 
There  is  comparatively  little  information  in  existence 
concerning  the  details  of  Titian's  long  life;  this  book 
is  devoted  mainly  to  his  paintings,  ^reat  ingenuity 
being  shown  in  ascertaining  the  historical  sequence  of 
undated  works.  The  changes  in  his  style  as  a  painter 
are  followed  up  with  great  thoroughness.  750' 

The  Early  Flemish  Painters  ;  their  Liyes 
and  Works.  2d  ed.  Illus.  Lend.,  John 
Murray,  1S72,  15s.     N.  Y.,  Scribner.  £6. 

First  published  in  1857,  reissued  as  a  second  edition 
in  1872  with  valuable  additions  and  an  inde.x.  It  treats 
more  fully  what  is  contained  in  the  first  volume  of 
Crowe's  edition  of  Kugler,  named  elsewhere,  and  is, 
perhaps,  the  best  book  on  the  subject.  759.9 

Crowninshieldj  Frederick 

Mural    Painting.      Host.,    Ticknor   &   Co.» 

1887.     Out  of  print. 

Devoted  to  an  examination  into  the  different  proc- 
esses used  in  painting  on  walls,  that  is  tc  say,  of  large- 
scale  painting  in  which  decorative  and  expressional  art 
are  combined,  and  in  which  the  artist  has  in  view  to 
provide  a  picture  interesting  to  the  public,  although 
primarily  of  artisticai  value  as  a  decorative  composition. 
Encaustic  painting,  which  was  the  art  specially  in  use 
among  the  ancient  Romans;  tempera,  or  distemper, 
which  was  especially  in  use  in  the  Middle  Ages; 
fresco,  or  painting  on  wet  plaster;  painting  on  dry 
plaster;  painting  in  oil,  as  on  stretched  ranvas ;  and 
painting  by  the  modern  process  of  water  glass,  are  all 
described  and  their  methods  explained  with  sufficient 
fulness  to  aid  in  a  decision  as  to  the  method  to  be  em- 


Piiinfifii^  and  Sculpture. 


21 


ployed.  Another  chapter  is  devoted  to  the  "  education 
of  the  mural  painter,  and  there  are  valuable  notes. 
This  work  by  a  highly  trained  artist,  who  is  also  famil- 
iar with  the  grea.  work  of  the  Italian  cinque-ccnto  and 
of  modern  Paris,  and  who  has  thought  much  and 
written  powerfully  on  his  own  art,  is  valuable  for 
others  than  the  special  students  of  mural  painting. 

750 

Cundall,  Joseph. 

Hans  Holbein.  (Great  Artists  Series.)   Lond.. 
Low.  1S79,  3s.  6d.     N.  v.,  Scribner,  Si. 25. 

An  instructive  little  book  on  the  life  of  a  great  artist 
who  lived  in  exciting  times,  with  judicious  comments 
on  his  work.  It  has  been  compiled  from  the  larger 
work  in  German  of  Dr.  Alfred  Wortmann.  750 

Brief  History  ok   Wood-Engravinc.   from 

ITS    INVF.NTION.      Lond.,    Sampson    Low    \ 

Co.,  1S95,  2s.  6d.     N.  Y.,  Scribner,  $1. 

An  excellent  account  of  the  subject  in  the  briefest 

possible  compass,  and  including  about  tifty  well-selected 

examples.  761 

Cust]  liioneh 
Albert     Durer's     Engravings.       Portfolio 
Monograph,  Nov.,   1894.     Lond.,  Seeley  «S: 
Co.     N.  Y.,  Macmillan,  75  c. 

DUrer  is  one  of  the  ten  or  a  dozen  artists  whose  work 
appeals  to  every  one  and  who  are  of  all  ages  alike. 
This  great  quality  is  visible  in  his  engravings ;  al- 
though the  reproductions  given  in  this  volume  of  the 
splendid  prints  are  not  always  as  tine  as  they  should  be 
(those  on  pages  51  and  55  being  notably  defective), 
others,  and  especially  the  full-page  plate,  are  ver>"  fine 
indeed.    The  text  is  biographical.  769 

Dargenty-j  G. 

Lf  Karon  Gros.     (L.A.C.)     Paris,  Librairie 

de  I'Art,  iSSy,  fr.  6.50. 

Gros  as  a  painter  is  less  esteemed  now  than  other 
men  of  iiis  time  ;  most  readers  would  go  to  this  biogra- 
phy rather  as  a  contribution  to  the  history  of  an 
important  period.  As  the  pamter  of  the  big,  old- 
fashioned  historical  picture,  however,  and  that  not 
without  a  decided  merit  of  his  own,  Gros  is  worthy  of 
some  study  by  moderns.  The  present  work  is  tolerably 
complete,  and  contains  a  list  of  his  works  as  well  as  of 
his  very  numerous  pupils,  and  a  bibliography.         750 

Darwin,  Charles  Robert. 

The  Expression  of  Emotions  in  Man  and 
Animals.     Illus.     N.  Y.,  Appleton,  ^^3.50. 

Though  written  without  any  reference  to  fine  art, 
well  worthy  of  careful  study  and  of  comparison  with 
such  books  as  Bell's  "  Anatomy  of  Expression."  Dar- 
win's analysis  of  the  nature  of  facial  expression,  and 
his  interpretation  of  it  as  seen  in  men  and  animals,  is 
marked  by  all  the  intelligent  and  suggestive  insight 
and  the  absolute  fairness  of  this  illustrious  writer.    138 

Davillier,  Baron  Charles. 

FORTl'NY,  SA  VIE,  SON  CEUVRE,  S.V  CORRESPOND- 

ance.     Paris,  Auguste  Aubry,  1875,  30  fr. 

Fortuny  was  one  of  the  most  artistic  of  modern 
artists ;  a  painter  and  etcher  who,  whatever  the  final 
judgment  of  his  brother  artists  upon  his  work  may 
prove  to  be,  is  certain  never  to  be  ignored  by  them. 
Four  or  five  admirable  reproductions,  a  number  of  his 
letters,  and  a  brief  and  sympathetic  discussion  of  his 
merits  are  contained  in  this  book.  The  artist's  life, 
balanced  between  France,  Spain,  and  Italy,  affords  an 
interesting  narrative.  There  is  a  smaller  but  still  use- 
ful treatise  on  this  artist  in  the  series  caUed  "  Les 
Artistes  C)^l£rbres."    (Paris,  Librairie  de  I'Art,  8  fr.) 

750 

Decamps.     See  Clement,  Charles. 
Da  ChampeauXj  Alfred. 

HiSlolKE  DE  LA  I'EINTLRE  DECORATIVE.      Paris, 

Laurens.  1S90,  15  fr. 

Perhaps  the  only  general  treatise  on  the  subfect  ex- 
cept Mr.  Crowninshield's— which  is  rather  practical 
than  historical.  750 


Delaborde,  Henri,  I'irom/i: 

La  Gravire.  (B.E.B.A.)  Paris,  Quaniin. 
5  fr.  Transl.  by  R.  A.  ^L  Stevenson  as 
Engraving:  Irs  Oricin.  Processes,  ani> 
History.  N.  Y.,  Casscll.  iS36,  $2.  Out 
of  print. 

Treats  the  subject  in  a  large  way,  taking  up  wood- 
engraving  and  typography ;  the  crible  process,  etch- 
ing, engraving  with  the  burin,  mezzotint,  stipple, 
printing  in  color,  etc.,  and  an  historical  account  of  the 
art.     A  very  useful  book.  701 

G^raro  Edelinck.  (L.A.C.)  Paris,  Li- 
brairie de  I'Art,  fr.  6.50. 

tdelinck  was  a  consummate  engraver  of  the  times 
of  Louis  XIV.  and  Louis  XV.  Only  collectors  of  prints 
know  much  about  him,  or  much  ot  the  other  artists  of 
his  time,  and  it  is  for  this  reason  that  this  book,  with 
its  many  fac-simile  lUustrations,  is  included  here. 

760 

DelacroiXj  Eugene.     Sec  Vferon,  E. 
Delaroche,  Paul.     .S<  <   Rees,  ].  Ruutz. 

De  liOstalot,  Alfred. 

Les  Chefs-d'CElvre  de  L'Art  ai'  XIX.  Sie- 
cle  :  L'ecole  eran\aise   he  Delacroix  A 

Regnault.    Paris,  Librairie  Illustr6e,  Mont- 
gredien,  26  fr. 

Belongs  to  the  series  catalogued  under  the  names  of 
Gonse,  Lefort,  Michel,  and  De  Wyzewa.  The  epoch 
of  painting  covered  by  this  volume  may  be  put  down 
roughly  as  iSsoto  1870,  thus  covering  the  later  works 
of  Diaz.  Couture,  Delacroix,  and  Millet,  and  the  earlier 
work  of  the  men  of  our  own  time.  It  forms  a  part  of 
the  series  of  which  Michel's  book  is  the  first,  this  one 
the  second,  and  Lefort's  the  third.  759.4 

Del  Sarto,  Andrea.     ^V(-  Scott,  Leader. 

De  Pontes,  Lucien  Davesies. 

Eti'des  si'R  LA  Peinture  Vemtienne.  Paris, 
Levy  freres.  1S67,  3  fr. 

The  author  of  this  book  had  undertaken  a  large  and 
exhaustive  treatise  on  Venetian  painting,  but  h;s  death 
prevented  its  completion.  All  that  was  put  into  shape 
of  that  proposed  work  is  contained  in  this  extremely 
suggestive  volume.  759.5 

De^ardinSj  Abel. 

La  Vie  et  i.'CErvRES  de  Jean  Holoone 
d'apres  les  inanuscrits  inedits  recucilles  par 
M.  Foucquesde  Vagoronvillo.  i*aris,  Quan- 
tin,  1S83.  100  fr. 

This  monograph,  devoted  to  the  works  of  the  great 
artist,  of  which  only  one  or  two  are  commonly  known 
to  travellers  and  archaeologists,  is  a  large  and  somewhat 
expensive  work;  its  100  foiio  pages  and  very  numerous 
photographs  and  drawings  are  devoted,  after  all,  to  an 
artist  of  the  second  importance.  This  is  the  artist 
called  in  Italy  Giovanni  Bologna,  and  sometimes  in 
English  John  of  Douai,  who  is  the  author  of  the\ven- 
known  "  Mercury  Alighting  on  Earth,"  and  seen  poisei 
for  a  moment  on  one  foot,  wliich  is  in  the  I'flizi  Gal- 
lery at  Florence,  and  of  the  famous  bronze  doors  of  the 
Cathedra!  of  Pisa.  The  book  is  valuable  lor  its  con- 
sideration of  the  architectural  and  decorative  concep- 
tions of  the  artist,  as  well  as  his  generally  known  statues. 

700 

Destree,  Olivier  Georges. 

The  Renaissance  <>f  Sci'LrTt'RE  IN  BELrji'M. 
Portfolio  Monot^raph,  Nov..  1S95.  Lond., 
Seeley  &  Co.     N.  Y.,  Macmillan,  75  c. 

One  of  the  more  important  of  the  new  "  Portfolio'* 
series,  because  introducing  the  reader  to  an  art  of  which 
he  might  otherwise  hear  little.  The  art  of  Belgium  is 
in  many  ways  a  thing  apart  ;  the  sculpture  treated  in* 
this  essay  is  not  veiy  valuable  according  to  the  stand- 
ards generally  s::t  up.  730- 


Paiiitiug  and  Sculpture. 


Les  PRF,-RArKA6l.lTES  :   notes  sur  I'art  decora- 
tif  el  la  peinture  en  Angleterre.     Bruxelles. 
Dietrich.  iSijs,  4  fr. 
Valuab'e  as  ijiving  the  opinion  of  a  Continental  criiic 

ol  intiucnce  on  an  art  peculiarly  English.  759.2 

De  Wyzewa,  T. 

Les  Chefs  n'OiUVRE  de  L'Art  au  XIX.  Sifc- 

CLE :  La  Peintlike  etrangere.     Paris,  Li- 

brairie  Illuslree,  Montgredien,  26  fr. 

One  of  the  valuable  series  of  five  works  catalogued 

under  the  names  of  Gonse,  Leforl,  De  Lostalot.  and 

Michel.     This  volume  IS  injured  by  the  attempt  to  make 

a  readable  book,  written  in  a  taking  style,  while  the 

field  which  had  to  be  gone  over  was  much  too  vast  for 

such  treatment.  759 

Didron,  Adolphe  Napoleon. 

Manuel  d'iconograi'IHE  chretien.  Transl. 
by  E.  J.  Millingion  as  Christian  iconog- 
RAi'iiv  :  history  of  Christian  art  in  the 
Middle  Ages  ;  with  appendices  and  supple- 
ments by  Margaret  Stokes.  (Bohn.)  N.  Y., 
Macmillan,  2  v.,  I3. 

Dea^  with  the  traditional  manner  of  representing 
the  difterent  personages  of  sacred  history  and  legend 
as  contained  in  a  Ms.  of  the  Byzantine  Empire.  It 
should  be  compared  with  the  works  by  Guenebault, 
Mrs.  Jameson,  and  Lord  Windsor,  as  showing  the 
exact  regulations  which  were  laid  down  in  writing  for 
the  guidance  of  painters  of  the  traditional  ages.  The 
practice  is  described  in  the  two  English  book's  espe- 
cially ;  in  the  book  before  us  the  precepts  are  given 
positively.  247 

Dobson,  Austin. 

William  Hogarth.     N.  Y.,  Dodd,  Mead  & 

Co.,  iSgi,  $7.50. 

A  most  sympathetic  and  just  analysis  of  the  merits 
of  a  great  painter  who  lived  in  an  inartistic  time. 
Thanks  to  his  engravings  he  will  always  be  better 
known  as  a  portrayer  and  satirist  of  the  manners  of 
his  time  than  as  an  artist  in  the  more  limited  sense. 
But  Mr.  Dobson  has  done  him  iustice  in  both  capacities. 
There  is  also  a  smaller  treatise  by  the  same  author  in 
the  "  Great  Artists  Series,"  Lond.,  Low,  3s.  6d.  N.  V., 
Scribner,  $1.25.  750 

Donatello.     Sec  Muntz,  E. 

Dupre,  A.     Sec  Saunier,  A. 

Diirer,  Albert.  AvCust,  Lionel;  Ephrussi,  C; 
Scott,  W.  B. ;  Sweetser,  M.  F. ;  and  Thaus- 
ing,  M. 

Eastlake,  Lady. 

History  ok  Our  Lord.  See  Jameson,  Anna 
C. 

Edelinck,  Gerard.     Sec  Delaborde,  Henri,   77- 

LOUltC. 

Ephrussi,  Charles. 

Albert  DC'rer  et  ses  Dessins.  Paris,  Quan- 
tin,  1SS2,  70  fr. 

The  drawings  by  Diirer  are  of  unusual  relative  im- 
portance, because  of  the  firm  delineation  usual  in  his 
paintings  and  those  of  the  German  school  to  which  tie 
be!onji;s.  The  illustrations  in  this  book  include  what  is 
equivalent  to  a  considerable  collection  of  these  fine 
drawings,  together  with  reproductions  of  som'e  impor- 
tant paintings.  Many  of  these  prints  are  important 
photographic  plates  printed  separately.  Such  a  work 
as  this  may  be  considered  as  a  considerable  private  gal- 
lery of  works  of  art,  with  an  intelligent  comment  far 
more  full  and  detailed  than  even  the  best  catalogues 
of  the  public  museums.  Mr.  Ephrussi  is  a  well-known 
collector  and  a  writer  who  speaVs  with  authority. 

740 
Etex,  A.     Slc  Mangeant,  P.  E. 

Tarrar,  Frederick  W. 

The  Life  of  Christ  as  Represented  in  Art. 
lUus.      N.  Y..  Macmillan,  1894,  $6. 
An  attempt,  similar  to  the  one  made  by  Lady  East- 


lake  in  her  "  History  of  Our  Lord "'  (seo  under  Jame- 
son), to  bring  together  an  account  of  the  works  ol  art 
in  which  the  incidents  in  the  life  of  Christ  are  repre- 
sented, whether  Biblical  or  traditionary.  Together 
with  the  history  ot  the  Saviour,  there  is  some  account 
of  the  representations  of  Old  Testament  incidents  which 
were  assumed  lo  have  relations  to  similar  incidents  \\\ 
His  history.  There  are  many  illustrations,  and  these 
will  be  found  useful,  though  tbey  are  not  ol  great 
beauty.  700 

Fenollosa,  E.  F. 

Mural  Paintings  ix  Boston  Public  Li- 
brary. Best.,  Curtiss  &  Co.,  1S96.  25  c. 
A  pamphlet  designed  for  visitors  to  the  Boston  Pub- 
lic Library,  describing  the  important  wall-paintings 
completed  in  1895  by  Puvis  de  Chavannes,  John  S.  Sar- 
gent, and  E.  A.  Abbey.  The  value  ot  these  paintings  is 
well  e.\plained,  but  the  tone  of  laudation  is  excessive. 

750 

Fidiere,  O. 

Chapu,  sa  vie  en  son  ceuvre.     IUus.    de   6 
heliogravures  et  de  45  gravures  en  noir  et 
en  couleur.     Paris,  Plon,  1S94,  12  fr. 
An   account  of  the  life   and   work  of  an  eminent 
French  sculptor  who  died  in  1891  ;  the  author  of  many  ot 
the  most  important  monumental  and  other  groups,  por- 
trait statues,  and  ideal  compositions  in  Pans  and  other 
cities  of  France.  730 

Fisher,  R. 

Introduction  to  a  Catalogue  of  the  Early 
Italian  Prints  in  the  British  Museum. 
Lend.,  18S6,  i8s.     Out  of  print. 
A  brief  introduction  to  the  study  of  old  prints  which 

will  be  useful  to  many  a  beginner.  760 

Forgues,  Eugene. 

Gavarni,    Paul.     (L.A.C.)     Paris,    Librairie 

de  I'Art,  1SS7,  6  fr. 

The  greatest  caricaturist  of  modern  times,  a  student 
of  character  so  brilliant  and  so  profound  that  it  is  to  be 
regretted  that  he  ever  turned  his  attention  to  caricature, 
has  never  yet  been  made  the  subject  of  an  adequate 
biography.  There  are  many  works  to  which  reference 
might  be  made,  but  this  brief  notice  serves  ag  well  as 
any  of  them,  and  needs  to  complete  it  only  the  long  list 
of  his  works  for  which  there  is,  of  course,  no  room  in  a 
popular  manua'.  A  number  of  Gavarni 's  drawings  and 
several  portraits  of  the  artist  arc  reproduced.  741 


Forster,  Ernst. 

P.\ixTiNi.r  AND  Sculpture  in  Germany. 
See  Part  I. 

Fortnunij  O.  Drury  E. 

Descriptive  Catalogue  of  the  Bronzes  of 
European  Origin  in  the  South  Kensing- 
ton Museum.  Lond.,  Chapman  &  Hall, 
1876,  2s.  6d. 

There  is,  perhaps,  no  book  on  European  bronzes  as 
valuable  as  this.  The  long  introduction  of  210  pages  is 
an  e.xcellent  essay  on  the  technical  processes  involved 
in  the  founding  and  finishing  of  bronze  and  the  artistic 
history  of  its  use.  The  catalogue  which  follows  in- 
cludes a  great  deal  of  valuable  critical  remark  appended 
to  the  descriptions  of  the  pieces.  Twenty-five  photo- 
graphic plates  represent  some  of  the  most  important 
pieces  of  bronze  work  of  the  collection:  and  this  col- 
lection, though  not  equal  to  some  in  Italy,  has  the 
advantage  of  being  carefully  made  with  pieces  deliber- 
ately chosen.  739 

Fortuny.     See  Davillier,  Baron, 

Fromentin,  Eugene. 

Maitres  D' Autrefois  :  Belgique,  Hol- 
LANDE.  Transl.  as  The  Old  Masters  of 
Belgium  and  Holland.  Best.,  Hough- 
ton, $3. 

An  admirable  book,  full  of  soundest  criticism. 
For  a  Life  of  Fromentin,  see  under  Gonse,  Louis. 

759  9 


Painting  and  SculMure. 


25 


Furtwangler,  Adolf. 

Mastf.rimf.cks  ok  Grkek  ScfLPTt'RF.  :  essays 
on  history  of  art.  Edited  by  Ku.t;L'nie  Sel- 
lers, with  19  fuU-pa^e  plates  and  200  text 
illus.     N.  Y.,  Scribner,  1S95,  $15. 

This  is  a  remaking  in  English,  rather  than  a  literal 
translation,  of  the  important  work  in  German  of  Dr. 
Furtwangler,  It  is  a  study  brought  down  to  very  late 
date,  of  the  latest  conclusions  of  archaeologists  in  regard 
to  the  best  known  names  of  the  sculptors  of  antiquity 
and  the  existing  works  which  may  be  assigned  to  them 
in  originals  or  in  copies;  and  also  of  the  Venus  dc 
Milo  and  the  Apollo  oi  the  Belvedere.  An  appendix 
of  sixty  pages  contains  a  most  interesting  account  of 
the  buildings  on  the  Acropolis  at  Athens.  In  all  this 
long  inquiry  the  theories  advanced  are  often  very 
bold,  and  some  of  ihem  undoubtedly  fail  to  be  accepted 
as  final  truth  ;  but  the  undue  boldness  of  ascription,  or 
dating,  can  do  no  harm  e.xcept  to  a  reader  who  is 
unaware  that  all  assertions  as  to  ancient  art  are  more 
or  less  relative.  733 

Meisterwerke  der  Griechischen  Plastik. 
Kunsto;eschichtliche  Untersuchungen.  Il- 
lus. Leipzig  und  Berlin,  von  Giesecke  *S: 
Devrient,  1S93,  85  marks. 

See  the  rearranged  translation  of  this  book  under 
the  next  preceding  title,  "  Masterpieces  of  Greek  Sculpt- 


See  a  thorough  review   in   A}, 
Arck^ology^  Vol.  IX.,  p.  220. 


rican  Jottrnal  o/ 

733 


Gainsborough,  T.     Sec  Armstrong,  \V. 


Galland,  P.  V. 


Havard.  H. 


Gardner,  Ernest  A. 

H.vNinjooK  OF  Greek  Sculpture.  IUus. 
N    Y.,  Macmillan,  iSg6.  Si. 25. 

This  is  only  half  of  the  proposed  work  :  it  will  be 
when  completed  the  best  convenient  manual  of  Greek 
sculpture  in  existence.  Written  in  a  critical  spirit,  with 
large  knowledge  of  archteological  research.  733 

Gardner,  Percy. 

TvpFs  OF  Greek  Coins  :  an  archaeological 
essay.  Illus.  Cambridge,  Universitv  Press. 
N,  Y.,  Macmillan.  gS. 

Not  a  treatise  upon  numismatics  but  an  analysis  of 
Greek  coinage  considered  mainly  as  a  branch  of  sculpt- 
ure. Sixteen  plates  contain  about  500  photographic 
reproductions  of  Greek  coins  chosen  for  their  beauty, 
and  these  are  classified  according  to  the  design,  the 
emblem  or  figure,  the  head  or  group  which  forms  their 
principal  subject.  Some  of  the  rarest  coins  and  some 
of  the  commonest  are  given  here,  the  attempt  being  to 
offer  perfect  specimens  of  the  finest  types,  and  to  ex- 
plain and  discuss  them.  737 

Gavarni,  Paul.     See  Forgues,  Eugene. 

Gilbert,  Josiah. 

Landscape  in  Art  Before  Claude  and  Sal- 
VATOR.  lUtJS.  Lond.,  John  Murray, 1SS5,  30s. 

The  value  of  this  book  to  the  student  will  be  as  an 
historical  record  of  landscape  painting  in  Europe  from 
the  backgrounds  of  mediaeval  miniatures  in  books  and 
mosaics  down  to  Rubens,  Claude  Lorrain,  and  Salvator 
Rosa.  The  references  to  landscape  treatment  by  sculp- 
tors in  antiquity  and  artists  of  different  kinds  in  the 
East  are  of  but  little  value,  and  the  citations  from  clas- 
sical authors  can  aid  the  student  but  little  in  forming  an 
idea  of  the  Roman  or  Greek  view  of  landscape        758 

Gilchrist,  Alexander. 

Life  of  William  Blake.     New  and  enlarged 
ed.,  illus.  from  Blake's  own  works.     Lond.. 
Macmillan,  iSSo,  2  v.      Out  of  print. 
William  Blake  must  always  be  one  of  the  most  in- 
teresting figures  in  the  history  of  art.     This  is  the  ac- 
cepted work  upon  him  and  his  art,  including  a  life  by  a 
sympathetic  biographer,  his  shorter  poems,  parts  at 
least,  of  his  larger  works,  and  a  great  many  reproduc- 
tions of  his  drawings  and  prints,  sometimes  full-sized, 
sometimes  reduced.      Blake    is  the    most    interesting 
artist,  of  purely  mystical  habit  of  mind  and  practice,  of 
all  modern  times.  700 


Gonse,  Louis. 

Erci^XE  Fromentin,  Painter  ani>  Writer. 
Transl.  by  ^L  C.  Robbins.  Host.,  Hough- 
ton. 1SS3.'  $3. 

This  book,  although  mainly  a  life  of  Fromentin. 
contains  long  passages  of  his  critical  work.  In  Chap.  V. 
are  notes  for  lectures.  759.0 

Li:s  C H efs-d'CEvvre  i >e  i." A r  r  a i*  X L\ . 
Sm>,cle.  La  Sculi'titre  et  la  Oravvke  al' 
XIX.    sif.cLE.       Paris,    Librairiu     Illustr6e. 

26  fr. 

This  work  belongs  lo  the  series  cttalogucd  under 
the  names  of  Lefort,  Dc  Lostalot,  Michel,  and  Dc 
Wyzewa.  This  volume  may,  perhaps,  be  the  most 
useful  and  the  most  welcome  to  American  readers  as 
containing  an  account  of  those  arts  of  which  they  st-e 
the  least.  The  very  important  sculpture  of  tlie  modern 
French  school  is  treated  here  with  great  intelligence. 
The  tone  of  criticism  is  very  just,  though  with  that 
tendency  toward  laudation  hard  to  avoid  in  treating" 
the  work  of  one's  strongest  contemporaries.  There 
are  twenty  full-page  plates,  some  photographic,  and 
nearly  two  hundred  drawings  in  the  text.  759- 

La     Sci'LPTt'RE     FRANC^AISE     DEPflS     LE     XI\'. 

Sifi-.cLE.     Paris,  Quaniin,  1S95,  60  fr. 

An  historical  account  of  French  sculpture,  beginning 
with  the  appearance  of  the  Classical  taste  in  France, 
late  in  the  XV.  century.  For  Gothic  sculpture  and  the 
still  earlier  schools,  the  author's  work,  "L'.Art  Goih- 
ique,"  may  be  consulted.  Beginning  with  the  masters 
of  the  reign  of  Charles  VI 11.  and  Louis  XII.,  ihe  history 
unrolls  itself  to  our  own  time,  and  includes  artists  who- 
are  still  young  men.  The  illustrations  are  of  great 
beauty  and  value.  735 

Gower,  Lord  Ronald. 

Fuu'RE  Painters  of  HnLLANri.  (G.A.S.) 
Lond.,  Low,  iSSo,  3s.  6d.  N.  V..  Scrib- 
ner, $1.25. 

An  interesting  inquiry  into  a  school  of  painting  not 
much  studied.  Dutch  landscape  painting  is  the  founda- 
tion of  modern  schools  of  that  art,  but  Ihe  figure  paint- 
ing of  the  country  is  less  considered  than  it  should  be. 

759.9 

Grahame,  George. 

Clai'dk  Lorrain,  Painter  and  Etcher. 
Portfolio  Monograph,  March,  1S95.  Lond., 
Seeley  «S:  Co.      N.  Y.,  Macmillan.  75  c. 

Valuable  chiefly  for  illustrations  of  great  beauty. 
In  the  valuable  monograph  by  Mrs.  Mark  Pattison 
(now  Lady  Dilke)  no  one  of  the  numerous  illustrations 
is  comparable  for  beauty  and  accuracy  to  some  of  these. 

750 

Gros,  /.(■  Baron.     See  Dargenty,  G. 

Gruyer,  F.  A. 

La    pEiNTi'RE   w   Chateau   de  Chantillv. 
V.  I.      Kcolcs  6trani?eres,  avec  40  heliogra- 
vures.    Paris,  Plon.  1S95,  40  fr. 
The  collections  at  Chantilly  have  doubled  in  value 
to  the  world  at  large  since  the  Due  D'Aumale's  mag- 
nificent gift  of  the  palace  and  its  contents  to  the  people 
of  France.     This  hook  gives  in  portable  form  some,  at 
least,  of  the  valuable  pictures  inciuded  in  the  collection. 
Most  of  them  will  be  new  to  the  student ;  the  study  of 
art  can  be  pursued  with  added  material  now  that  they 
are  made  accessible.  759.4 

Voyage  autour  dit  Salon  Carr^  ai^  Mis6e 
DU  Louvre.     Paris,  Firmin-Didot  &   Cie.. 

1S94,  65  fr. 

A  collection  of  fine  photographic  plates  of  the  most 
important  pictures  in  the  famous  Square  Room  of  the 
Louvre  Gallery.  It  is  as  a  collection  of  works  of  art 
that  this  book  is  to  be  bought,  but  the  printed  comment 
IS  not  without  its  value  to  students.  759 

Guiffrey,  Jules. 

Antoine  Van  Dyck.  sa  vie  et  son  (EUVRE. 

Paris.  Quantin.  1SS3.  100  fr. 

The  second  edition  of  a  book  printed  in  1881  in  folio 
with  etchings.  In  the  absence  of  a  thoroughly  critical 
hfo  of  Van  Dyck,  this  book  has  its  value,  although  the 


^4 


Pai/iti/ig  and  Sculpture. 


work  by  Michiels  is.  perhaps,  more  full  in  its  account 
of  the  artist's  work.  Illustrated  with  about  loo  prints, 
of  which  about  one-third  are  separate  plates  and  of 
which  a  large  number  are  photographic.  759.9 

Haden,  Francis  Seymour. 

The  Etched  Work  of  Rembrandt.  Lond.. 
Macmillan.  1879.     Out  of  prim. 

Originally  a  preface  to  the  catalogue  of  the  fine  col- 
lections of  Rembrandt's  made  for  exhibition  by  the 
Burlington  Fine  Arts  Club,  in  1877,  The  catalogues  of 
the  Club  are  practically  out  of  reach  of  the  purchasing 
public,  this  preface  was  printed  by  itself  as  being  of 
permanent  value  Its  peculiarity  is  that  its  author  dis- 
putes the  authenticity  of  many  prints  ordinarily  ascribed 
to  the  great  master  767 

About  Etching.  Part  I.  Notes  on  a  collec- 
tion of  etchings  and  engravings  by  the 
great  masters  lent  by  Mr.  Haden  to  the 
Fine  Art  Society  to  illustrate  the  subject  of 
etching. 

Part  II.  An  annotated  catalogue  of  the  ex- 
amples exhibited  of  etchers"  and  painter- 
engravers'  work,  illus.  with  an  original 
etching  by  Mr.  Haden  and  15  fac-similes  of 
■etchings.  Lond..  The  Fine  Art  Society, 
1S79.  Published  at  21s..  offered  by  Bats- 
ford,  London,  iSs. 

An  admirable  corrective  of  some  of  the  too  hasty 
conclusions  drawn  by  writers  on  engraving  and  on  rare 
prints.  Mr.  Haden  is  a  practical  etcher  of  the  most 
refined  taste  and  with  great  practical  skill.  He  has 
made  a  very  large  collection  of  the  finest  prints  which 
can  possibly  be  obtained,  of  which  he  is  an  enthusiastic 
student. 

The  fifteen  illustrations  are  the  most  admirable  fac- 
similes of  ancient  prints  which  are  known  to  the  present 
writer.  The  originals  of  these  are  among  the  rarest 
and  most  precious  prints  in  existence;  the  copies  here 
given  are  deceptive  in  their  accuracy,  e.xcept  that  in,  at 
least,  one  instance,  the  copy  is  slightly  enlarged.     767 

Hamertoiij  Philip  G. 

Article  Drawing,  Encyclopaedia  Britannica, 
gth  ed. 

A  very  instructive  paper  on  the  drawing  of  different 
epochs  and  different  nations,  with  valuable  critical  re- 
marks. 

Article  Engraving,  Encyclopaedia  Britanni- 
ca, 9th  ed. 

Very  full  and  instructive. 

These  two  articles  have  been  brought  together  with 
additions,  and  made  into  a  volume  under  the  title 
*'  Drawing  and  Engraving,"  which  see  ne.\t  below. 

Drawing  and  Engraving,  with  Numerous 
Illustrations.     N.  Y..  Macmillan,  %-,. 

Consists  of  the  author's  articles  in  the  Encyclopaedia 
Britannica,  gth  ed.,  with  some  additions,  and  with 
plates  which  greatly  increase  its  value.  760 

Etching  and  Etchers.     Host.,  Roberts,  $5. 

First  published  in  1866,  at  a  time  when  the  art  of 
etching  was  being  taken  up  by  many  painters  and  many 
engravers.  The  first  edition,  and  a  third  one  of  1880, 
were  costly  illustrated  books  A  second  and  cheaper 
edition,  with  illustrations  especially  meant  for  students, 
came  out  in  1876,  but  still  costs  a  guinea.  It  is  ex- 
tremely valuable  as  at  once  a  treatise  on  the  practice 
of  the  art  and  a  history  of  its  development  from  the 
15th  century  to  date.  767 

The  Graphic  Arts.     Bost.,  Roberts,  82. 

a  series  of  descriptive  and  analytic  chapters  on  the 
different  processes  of  drawing,  painting,  and  engrav- 
ing, mainly  practical;  devoted  exclusively  to  those 
who  wish  to  learn  how  those  fine  arts  are  practised, 
■what  their  necessary  limitations  are,  etc  .  these  persons 
only  can  ever  obtain  any  real  sense  of  fine  art.  The 
English  edition  contains  many  fine  illustrations,  and  is 
costly  (catalogued,  unpriced,  by  Seeley  &  Co.,  London). 
The  Boston  edition,  without  the  illustrations,  is  also 
valuable.  750 


Man  in  Art.  Studies  in  Reugioi-s  and  His- 
torical Art,  Portrait  and  Genre.  Il- 
lustrated by  etchings  and  photogravures. 
N.  Y.,  Macmillan,  $30. 

Extends  the  subject  treated  in  "'The  Graphic  Arts." 
and  analyzes  the  art  of  different  times  and  nations  with 
reference  10  the  way  in  which  the  human  body  and  the 
human  face  expressions  have  been  treated  This  book 
is  named  in  the  belief  that  a  cheaper  edition  may  ap- 
pear. 750 

Landscape.     Bost..  Roberts,  $2. 

Continues  the  subject  treated  in  "The  Graphic 
Arts,'"  and  contains  a  very  full  account  ol  landscape 
art,  its  purpose  and  history,  and  us  character  as  prac- 
tised by  different  nations  at  different  times.  The  orig- 
inal edition  has  about  fifty  large  lilustraiions.  (N  \  ,, 
Macmillan,  $^5).  758 

Modern  Frenchmen.     Bost,  Roberts,  %2. 

Contains  biographies  of  Francois  Rude,  the  sculp- 
tor, and  Henri  Regnault,  the  painter  .  excellent  lives 
of  very  distinguished  men,  and  useful  to  the  student  of 
art  as  artists  understand  and  feel  it,  924.4 

Life  of  J.  M.  W.  Turner.     Bost,   Roberts, 

12. 

In  the  discussion  of  the  work  of  this  great  master 
many  valuable  truths  about  fine  art  are  explained  and 
insisted  on.  The  life  of  this  artist,  exclusively  devoted 
to  his  art,  is  very  instructive.  750 

Imagin.\tion  in  Landscape  Painting.  Bost., 
Roberts,  $2. 

It  IS  important  to  understand  the  relation  which  the 
artist's  mind  plays  in  the  deve'opraent  of  landscape 
art,  for  students  are  apt  to  suppose  that  in  this  art  at 
least  simple  copying  of  nature  is  nearly  everything 
Mr.  Hamerton  made  a  careful  study  all  his  life  of  this 
important  subject ;  his  conclusions  are  set  forth  in  this 
interesting  book,  which  contains  a  number  of  very  val- 
uable illustrations.  758 

The  Etchings  of  Rembrandt.  Portfolio, 
Jan.,  iSg4.  Lond..  Seeley  &  Co.  N.  Y., 
Macmillan,  75  c. 

A  well  arranged  and  useful  account  of  a  subject 
which  the  author  has  made  peculiarly  his  own.  The 
illustrations  are  numerous  and  very  good.  In  connec- 
tion with  this  may  be  read  Mr.  Binyon's  account  of 
"Dutch  Etchers  of  the  XVII.  Century,'"  Portfolio, 
Sept.,  1895.  The  two  books  form  a  good  introduction 
to  the  subject  of  metal  engraving  in  the  north.        767 

Harper,  Charles  G. 

English  Pen  Artists  of  To-Day  ;  examples 
of  their  work,  with  some  criticisms  and  ap- 
preciations. Illus.  N.  Y.,  Macmillan,  1S92, 
$20. 

As  a  collection  of  reproductions  of  contemporary 
work  in  black  and  white,  this  book  is  to  be  compared 
with  Pennell's  larger  work  mentioned  below.  The  re- 
productions are  perhaps  even  superior  in  Mr.  Harper's 
book.  Of  this,  as  of  the  other  work,  it  is  to  be  said 
that  the  admirable  illustrations  would  be  more  gener- 
ally interesting,  and  even  more  useful  for  serious  study, 
ifitheir  original  purpose  and  intention  had  been  ex- 
plained. 74J. 

Harrison,  Jane  £. 

Introductory  Studies  in  Greek  Art.  Il- 
lus.    N.  Y.,  Macmillan,  $2.25. 

Not  a  history  nor  a  classified  account  of  different 
schools,  but  an  essay  on  the  spirit  and  meaning  of 
Greek  Sculpture.  The  author  states  that  she  is  trying 
to  express  the  ideality  which  she  finds  in  Greek  Art, 
but  it  is  a  mistake  to  assume  that  ideality  was  unknown 
in  the  art  of  other  ancient  peoples,  however  superior 
may  have  been  that  of  the  Greeks.  709.38 

Hatton,  Richard  G. 

Figure  Drawing  and  Composition.  Illus. 
Lond..  Chapman  &  Hall,  1S95,  9s. 

A  useful  guide  for  the  student,  not  of  art  as  a  pur- 
suit to  be  followed,  but  of  works  of  art  10  be  studied  as 
we  study  literature.     The  difficulties  in  the  way  of  the 


Painting  and  Sculpture. 


25 


figure  draughtsman  and  the  conventions  adopted   by 
artists  are  well  explained 

The  great  difficulties  which  attend  the  right  drawing 
of  the  human  figure  are  well  foi  even  the  theoretical 
student  ol  art  to  understand  ;  this  book  is  capable  ol 
giving  to  such  a  student  a  sense  o(  what  tigure  drawing 
really  is.  707 

Havard,  Henry. 

La  Peinture  Holla xn.\isK.  (R.E.B.A.)  Par- 
is. Quantin,  5  fr.     Transl.  by  G.  Powell  as 
The  DiTrcH  Sciiool  oe  Painting.     N.  Y.. 
Cassell.  1SS5,  82.     Out  of  print. 
A  very  good  brief  history  of  that  great  school  of 
painting    upon    which     English    painting    is    mainly 
founded,  and   which  has  strongly  mflueiiced   French 
painting  of  the  X VIII   and  XIX,  centuries,     i  he  crit- 
ical remarks  are  generally  useful  as  guides.         759.9 

L'Art  et  les  Artistes  Hollandais.  Paris, 
Quantin,  1879,  2  v..  40  fr. 

A  treatise  jn  the  art  of  Holland  larger  than  the 
handbook  of  the  B.  E.  B.  A.  series  and  devoted  to  otler 
arts  as  well  as  to  painting  At  one  time  of  his  life  Mr 
Havard  made  a  special  study  of  the  Low  Countries, 
making  several  journeys  in  the  less  known  part  of  the 
country  and  studying  the  people  and  their  a^c:enl 
monuments  of  art  with  much  thoroughness.         759.9 

L'CEuvRE  liE  P.  V.  Galland.  Avec  pres  de 
200  planches  in^dites.  Paris,  Quantin,  1S95, 
60  fr. 

Pierre  Victor  Galland  was  a  decorative  artist  of  very 
high  rank  ;  a  man  who  knew  how  to  combine  painting 
and  the  other  fine  arts  m  the  decoration  of  a  large  or 
small  apartment  or  a  series  of  rooms  or  halls,  and  who 
male  this  his  principal  study,  while  at  the  same  time 
he  was  a  modeller  and  a  painter  of  easel-pictures  of 
merit.  In  English-speaking  countries  this  use  of  all 
the  tine  arts  together  in  the  ornamentation  of  buildings 
is  so  little  studied  that  the  work  of  such  an  artist  is  apt 
to  be  underrated.  It  is  the  more  important  that  Amer- 
icans should  inform  themselves  of  the  ways  of  work 
in  a  country  of  such  superior  achievement  as  modern 
France.  759.4 


Heaton,  Mrs.  Charles. 

Concise  History  of  Painting.  New  ed.  re- 
vised by  Cosmo  Monkhouse.  (Bohn.)  N.  Y., 
Macmillan,  1S93,  fi.50. 

The  most  valuable  of  the  older  small  histories  of 
painting.  Mrs.  Heaton's  book  has  been  entirely  re- 
vised, both  as  to  matters  of  fact  and  date  and  as  to 
critical  appreciation.  During  the  lifteen  years  between 
its  first  appearance  and  the  publication  of  the  present 
edition  botli  the  history  and  criticism  of  art  had  been 

freatly  remade.    This  new  material  has  been  well  used 
y  the  editor.  750 


Hemans,  Charles  Isidore. 

A  History  of  Medl^val  Christianity  and 
Sacred  Art.  Lend.,  Williams  tS:  Norgate, 
1S72.  2  v.,  iSs. 

The  work  of  an  enthusiastic  student  of  what  is  called 
sacred  art  in  Italy;  that  is  to  say,  the  painting  which 
has  Biblical  or  legendary  church  history  for  its  subject, 
or  which  is  in  some  kinired  way  connected  with  the 
service  of  the  church.  The  book  is  interesting,  and 
capable  of  giving  much  aid  to  students  in  the  way  of 
suggestion  and  food  for  thought,  and  can  hardly  lead 
them  astray.  755 

Hiatt,  Charles. 

Picture  Posters.  Illus.  Lend. ,  George 
Bell  ^S:  Sons.     N.  Y.,  Macmillan,  1S95.  f3. 

The  poster,  or  the  illustrated  p'acard.  as  the  title- 
page  has  It,  has  not  always  been  a  study  in  strong  colors 
in  fiat  tints.  There  have  been  many  different  attempts 
at  pictorial  art  app'ied  to  advertisement ;  the  value  of 
this  book  is,  that  it  gives  somewhat  adequate  illustra- 
tion of  many  of  these  different  styles  of  work.  Well  up 
to  date. 

See  Nation,  Nov.  28,  1895.  p.  388.  740 


Hitchcock,  J.  R.  W. 

Etcminc,  in  America.     N.  Y..  While.  Stokes 

lS:  Allen.  1SS6.     Oui  of  print. 

Speaks  judicious'y  of  the  begmnmg  of  etching  in 
America.  The  art  wa;  more  in  vogue  i):.'lore  the  date 
of  this  book  than  it  has  been  since,  but  the  pause  in  us 
practice  and  infiuencj  can  only  be  temporary.  767 

Hogarth,  William.     Sec  Dobson.  Austin. 

Holbein,  Hans.     See  Cundall.  J.,  and  Maniz,  P. 

Homes  in  City  and  Country, 

By  RfssEi-i.  STi'Rnis.  John  W.  Root.  Bri'Cf. 
Price,  DoN.vLn  G.  Mitchell,  S.\mi:ei.  Par- 
sons. Jr.,  and  W.  A,  Linn.  11!us.  N.  Y., 
Scribner,  1S93,  $2. 

The  articles  in  this  book  are  mentioned  under  the 
names  of  their  authors.  The  first  article  deals  with  the 
plan  and  arrangement  of  the  city  house  rather  than 
with  architectural  designing.  728 

Hopfner,  Th. 

Die  IU:ili(;en  i\  der  christi.iciien  Ktnst. 
Leipzig,   Hreiikopf  &   Hartel,   1S94,   marks 

A  ireatise  on  Christian  iconography,  to  be  compared 
with  the  works  of  Lord  Lindsay.  Mrs.  Jameson,  Canon 
Farrar  on  the  "  Life  of  Christ,"  Didron,  and  others.  It 
IS  good  to  study  this  subject  from  the  German  stand- 
point.  247 

Humphreys,  H.  Noel. 

Coin  Collector's  Manual:  Guide  to  the 
Numismatic  Student  in  the  Formation  of  a 
Cabinet  of  Coins.  Illus.  (Bohn.)  N*.  V., 
Macmillan,  2  v.,  S3. 

There  are  many  large  and  thorough  studies  of  nu- 
mismatics, both  in  English  and  other  languages,  but 
the  supply  of  inexpensive  books  and  0/  those  that  may 
serve  as  introductions  to  the  subject  is  very  inadequate. 
This  book  is  almost  confined  to  the  Greek  and  Roman 
coins;  only  120  pages  are  given  to  the  whole  field  of 
post-classic  Europe.  There  is  a  great  deal  to  be  learned 
from  it,  however,  and  it  contains  a  number  of  illustra- 
tions. See  also  Lenormant,  and  for  classical  antiquity, 
Gardner.  737 

Hunt,  William  M. 

Talks  on  Art.  First  and  second  series. 
Bost.,  Houghton.  2  v..  §2. 

Scattered  remarks  noted  down  by  a  pupil  of  a  very 
able  painter  who  devoted  himself  also  to  teaching. 
Such  notes,  separated  from  their  context  of  direct  per- 
sonal instruction  and  daily  intercourse,  can  have  no 
value  except  as  suggestions  and  as  stimulus  to  thought; 
in  this  respect  these  books  are  useful.  704 

Jaccaci,  August. 

Italian  Posters  and  Music-Book  Covers. 
In  "  The  Modern  Poster."     N.  V..  Scribner, 

1S95. 

Completes  the  work  of  which  the  other  three  parts 
are  noticed  under  Alexandre,  Spiclman,  and  Bunncr 
The  five  illustrations  given  are  from  designs  by  liig- 
nami,  Puriati,  Mora  da  Hohcnstein,  Menta,  and  Siirto- 
ris.  They  are  of  high  finish  and  great  elabonilion  ; 
ver>'  different  from  anything  of  the  modern  French 
school  and  proportionately  interesting  to  the  student. 
Mr.  Jaccaci  has  allowed  himself  but  a  few  words  in 
which  to  explain  the  peculiarities  of  this  branch  of 
Italian  art.  740 

Jack.son,  John. 

Treatise  f)N  Woon-ENORAviNG,  Historical 
AND  Practical.     Lond..  Charles  Knight  tS: 
Co.,  1S39;  II.  G.  Hfihn.  1S61.     Out  of  print. 
Has  been  the  standard  for  many  years,  the  first  edi- 
tion having  been  printed  in  1839,  and  the  subsequent 


26 


Paintin^^  and  SculhUire. 


changes  being,  in  the  main,  additions  of  new  matter 
not  worked  into  the  body  of  the  text.  It  is  less  critical 
than  a  work  of  to-day  would  have  to  be  to  claim  no- 
nce, but  i'  contains  a  great  bidy  of  valuable  infor- 
mation, with  many  i'lustrations.  Helpful  if  used  in 
connection  with  the  smaller  but  more  technically  exact 
books  mentioned  under  the  names  of  Cundall  and  Lin- 
ton. 761 

Jameson,  Mrs.  Anna. 

S.VCRED  AND  LEGENDARY  Art  ;  edited  with 
additional  notes  by  Estelle  M.  Hurll.  abun- 
dantly illustrated  with  designs  from  ancient 
and  modern  art.  Bost..  Houghton,  1S94, 
2  v.,  $2.50,  cr  $6. 

Mrs.  Jameson's  work  on  the  treatment  of  Biblical 
and  legendary  persons  in  Christian  art  was  intended  to 
be  a  single  book  under  the  one  name  "  Sacred  and  Leg- 
endary Art.'*  This  title,  however,  is  practically  limited 
to  the  first  two  volumes,  which  deal  with  the  angjels, 
the  persons  of  the  New  Testament,  except  the  Saviour, 
the  Virgin  and  the  Saints,  whose  legends  are  thought 
to  be  of  the  widest  interest,  such  as  the  Virgin  Martyrs, 
the  Early  Hermits,  the  Doctors  of  the  Church,  etc. 
The  legends  of  the  Madonna  form  another  volume,  and 
the  legends  of  the  Monastic  orders  a  fourth.  Finally 
Mrs.  Jameson's  notes  for  a  similar  history  of  the  Saviour 
as  represented  in  art  were  taken  up  by  Lady  Eastlake, 
who  completed  the  work.  The  first  four  volumes  have 
been  reprinted  with  revision  by  Estelle  M.  Hurll. 

This  work  is  excellent  for  reference  in  the  matter  of 
recognizing  a  sacred  personage  by  his  attributes  as 
given  in  a  picture,  and  as  to  the  proper  way  of  repre- 
senting each  personage.  The  historical  part,  the  record 
of  the  growth  of  the  legends  and  the  changes  in  them, 
is  very  imperfect,  but  no  better  book  is  readily  acces- 
sible. The  author  had  no  great  knowledge  of  art,  and 
her  criticisms  are  of  little  value.  Compare  what  is  said 
of  Lord  Lindsay's  book.  247 

Legends  of  the  Madonna;  edited  with  addi- 
tional notes  by  Estelle  M.  Hurll,  abundantly 
illustrated  with  designs  from  ancient  and 
modern  art.  Best.,  Houghton,  1S94,  fl.25, 
or  §3. 

See  what  is  said  above  under  "  Sacred  and  Legend- 
ary Art."  709 

Legends  of  the  Monastic  Orders;  edited 
with  additional  notes  by  Estelle  M.  Hurll, 
abundantly  illustrated  with  designs  from 
ancient  and  modern  art.  Host.,  Houghton, 
1894,  $1.25,  or  $3. 

See  what  is  said  above  under  "  Sacred  and  Legend- 
ary Art."  709 

History  of  Our  Lord  as  Exemplified  in 
Works  of  Art.  Edited  by  Lady  Eastlake. 
2d  cd.     N.  Y.,  Longmans,  1S65,  2  v.,  ^8. 

See  what  is  said  above  under  "  Sacred  and  Legend- 
ary Art.'*  This  book  has  been  carried  farther  in  the 
way  of  illustration,  and  is  a^so  much  more  elaborate 
and  more  of  a  permanent  work  on  the  subject  than  any 
other  of  Mrs.  Jameson's  treatises.  It  includes  accounts 
cf  the  fall  of  man,  much  cf  the  Old  Testament  history, 
with  the  record  of  John  the  Baptist  in  art,  the  Murder 
of  the  Innocents,  etc.;  and  finally  a  certain  amount  of 
legendary  matter  such  as  that  concerning  the  Sibyls, 
the  history  of  the  Virgin  and  St.  Joseph.  232 

Memoirs  of  Early  Italian  Painters;  thor- 
oughly  revised    and    in    part   rewritten   by 
p;steUe  M.  Hurll,  with  62  portraits.     Bost., 
Houghton,  1S92,  $1.25,  or  $3. 
Originaryof  little  value.    The  changes  made  in  this 
new  edition  are  improvements  in  general;  the  book  is 
one  of  a  number  which  serve  a  certain  purpose  in  re- 
lating the  better  known  facts  about  a  famous  body  of 
men.  750.5 

Jones,  H.  Stuart. 

Select  Passages  from  An'cient  Writers  Il- 
lustrative OF  the  History  of  Greek 
Sculpture  ;  with  translation  end  notes. 
N.  Y.,  Macmillan,  1S95,  $2.25. 
Overbeck's  "  Antiken  Schriftquellen  zur  Geschichte 
der  bildenden  Kiinste  bei  den  Greichen,"  published  in 
1868,  was  an  attempt  to  give  all  the  passages  in  the 


extant  works  of  ancient  writers  and  inscriptions  which 
bear  on  Greek  art.  The  present  work  is  a  selection 
of  the  most  important  and  most  interesting  of  these 
passages,  with  the  addition  of  some  which  have  been 
discovered  more  recently.  The  use  of  such  a  book  is 
mainly  to  show  the  student  how  slight  and  vague  is  the 
knowledge  we  can  obtain  from  the  famous  writers  of 
antiquity  concerning  works  of  fine  art,  and  in  this  way 
to  elucidate  modern  archaeological  methods.  733 

Justij  Karl. 

Diego  Velazquez  and  His  Time.  Transl. 
by  Prof.  A.  H.  Keane,  and  revised  by  the 
author.  Lond.,  H.  Grevel  &  Co.  Phil., 
Lippincott,  1SS9,  %%. 

Justi's  booV,  in  the  German,  is  a  standard  of  excel- 
lence in  careful  biography  of  an  artist.  This  edition 
purports  to  be  a  c'.ose  translation  of  it,  and  has  a  few 
valuable  illustrations.  The  book  is  called  tedious  and 
hard  to  read  consecutively,  but  it  will  not  be  found  so 
by  a  person  interested  in  this  man,  one  of  the  two  or 
three  greatest  painters  of  all  times.  Mr.  Stevenson's 
essay  should  be  read  in  connection  with  it  if  possible. 

759.6 

Karoly,  Karl. 

Gi:n)E  TO  THE  Paintings  of  Florence  :  a 
Complete  Historical  and  Critical  Account 
of  All  the  Pictures  and  Frescoes  in  Flor- 
ence, with  Quotations  from  the  Best  Au- 
thorities; Short  Notices  cf  the  Legends  and 
Stories  connected  with  them  or  their  Sub- 
jects ;  and  Lives  of  the  Saints  and  Chief 
Personages  represented.  lllus.  Lend., 
George  Bell  &  Sons.  N.  Y.,  Macmillan, 
1S93,  ti.50. 

The  scope  of  this  book  is  even  fuller  than  that  of  its 
mpanion,    '*  The    Paintings  of  Venice."      Compare 


vhat  is  said  of  that  book. 


708.5 


Guide  to  the  Paintings  of  Venice:  an  His- 
torical and  Critical  Account  of  all  the  pict- 
ures in  Venice,  with  Quotations  from  the 
best  Authorities  ;  and  Short  Lives  of  the 
Venetian  Masters.  lUus.  Lond.,  George 
Bell  6c  Sons.     N.  Y.,  Macmillan,  1895,  Si. 50. 

The  title  explains  the  object  of  this  book.  Its  ob- 
vious fault  is  in  the  use  of  criticisms  by  writers  takmg 
absolutely  contrary  views  of  art,  and  by  some  writers, 
who  have  given  no  attention  to  art  at  all,  so  that  the 
standard  cf  judgment  applied  to  one  picture  is  not  that 
applied  to  another.  John  Ruskin,  Crowe  and  Caval- 
caselle,  Sir  H.  A.  Layard,  Sir  A.  Hume,  W.  D.  How- 
ells,  Charles  Blanc,  Mrs.  Oliphant,  Bemhard  Berenson, 
and  Sir  Charles  Eastlake — it  is  only  necessary  to  men- 
tion such  a  list  of  sources  to  show  how  valueless  is  the 
comparative  criticism  obtained.  Historically  and  as  a. 
work  of  reference  the  book  has  great  value.         708.5 

Raphael's  Madonnas  and  Other  Great 
Pictures  ;  reproduced  from  the  original 
paintings,  with  a  life  of  Raphael,  and  an 
account  of  his  chief  works.  lllus.  Lond., 
Geo.  Bell  &  Sons.     N.  Y.,  Macmillan,  1894. 

The  plates  in  this  volume,  numerous  and  good,  give 
an  excellent  idea  of  so  much  of  Raphael's  art  as  is  apart 
from  his  great  wall-paintings.  Those  wall-paintmgs 
are  of  course  the  really  immortal  and  in  their  way  un- 
equalled part  of  his  work:  but  the  easel-pictures,  and 
especially  the  Madonnas,  will  always  be  most  gener- 
ally popular.  Compare  what  is  said  of  the  work  of 
Julia  Cartwright  above.  70& 

Eeene,  C.  S.     See  Layard,  G.  S. 

Eoehler,  S.  R. 

Etching.  An  outline  of  its  technical  proc- 
esses and  its  history,  with  some  remarks  on 
collections  and  collecting.  Illustrated  by 
30  plates  by  old  and  modern  etchers,  and 
numerous  reproductions  in  the  text.  N.  Y., 
Cassell,  $20. 
'  *  A  sumptuous  volume. "  767 


Painting  and  Sculpturt 


27 


Xia  Parge,  John. 

CoNSiOKRATioNS  OX  PvMNTiNT.:  Lcciures  given 
in  1S93  at  the  Metropolitan  Museum  of  New 
York.     N.  v..  Macmillan,  1S95.  f  1.C5. 

The  reader  of  thes-*  lectures  will  fc^rl  a  cerlain  dis- 
appointment when  he  notices  that  he  forijets  the  con- 
tents of  one  paj;e  as  he  b^'j^ins  the  next,  and  that  it  is 
very  hard  to  recall  the  thread  of  thought  or  even  the 
general  plan  of  a  lecture.  The  style  is  picturesque  and 
vivid,  and  the  book  is  as  interestinar  as  writing  upon 
such  a  subject  can  possibly  be  made;  therefore  the 
reader  will  tind  that  easy  and  pleasant  which  it  is  alto- 
gether advisable  to  undertake — namely,  the  careful  re- 
reading; of  the  text.  To  Mr.  La  Farge,  an  accomplished 
artist  in  the  maturity  of  his  powers,  and  a  life-long- 
student  of  the  theory  of  art,  tnere  is  nothing  so  posi- 
tive in  art-criticism  or  art-laws  that  it  can  be  stated 
sharply  in  a  few  words.  Profound  truth  in  fine  art  has 
to  be  suggested,  not  asserted,  and  the  student  must  fit 
his  mind  to  grasp  the  full  value  of  the  suggestions  here. 

704 

Lafenestre,  Georges. 

La  Peinti're  Itai.ienne.  (B.E.B.A.)  Vol.  I, 
Paris,  Quantin,  5  fr. 

Only  the  first  volume  of  this  valuable  handbook  has 
appeared.  It  includes  the  history  to  the  close  of  the 
XV.  century.  The  illustrations  are  singularly  well 
chosen,  and,  in  spite  of  their  small  size,  very  instructive. 

759.5 

Lafenestre,    Georges,   ^Z   Richtenberger,   Eu- 
gene. 
Le    Mi'SEE    National    dc    Lolvre.      Paris, 
Quantin,  10  fr, 

A  volume  of  380  padres,  with  100  photographic  plates, 
of  no  great  merit.  It  is  devoted  entirely  to  a  catalogue 
of  the  paintings  in  the  Museum,  arranged  according  to 
the  Galleries,  and  made  accessible  by  an  index  in  which 
the  artists'  names  are  alphabetized  under  the  different 
schools.  It  is  wholly  a  work  of  reference,  but  as  each 
title  is  accompanied  by  a  description  of  the  picture  and 
a  brief  sketch  of  its  history,  the  book  is  useful  to  all 
who  are  studying  painting  in  any  systematic  way. 

708.4 

L.v   Peinture  ex  Europe.      Paris,   Quantin, 

1S95. 

Under  this  general  title  a  series  of  books  are  appear- 
ing, one  of  which,  that  having  to  do  with  the  Louvre, 
is  described  above.     That  on  Belgium  and  that  on  Flor- 


ence have  also  appeared  (Oct.,  1896).     10  fr.  each. 


759 
Landseer,  Sir  Edwin.     See  Sweetser,  M.  F. 

Lanzi,  VAbhe'  Luigi. 

HisTOiRE  DE  la  Petxture  EX  Italte.     Paris, 
H.  Seguin.  1S24,  5  v.     Out  of  print. 

This  celebrated  writer  wrote  before  the  foundation 
of  modern  arch^olof^ical  science  ;  his  work  needs  to  be 
checked  by  later  and  more  severe  investig^ators.  This 
book,  however,  remains  a  classic.  The  French  trans- 
lation IS  much  better  known  than  the  Italian  original. 

759.5 

Layard,  George  Somes. 

Life    and     Letters    of    Charles    Samfel 
Keene.    Lond.,  Sampson  Low,  1892,  12s.  6d. 

This  life  of  the  great  artist  m  black  and  white,  the 
best  man,  probably,  that  ever  worked  for  /"wwr/r,  should 
be  compared  with  the  "Life  of  Caldecott,"  by  Hen- 

Pp-  Blackburn,  and  Spielman's  "  History  of  Punch.'' 
harles  Keene  was  a  man  of  great  and  peculiar  genius, 
and  the  reader  will  understand  that  the  fact  of  his  work 
being  in  small  and  black  pictures  instead  of  large  and 
colored  ones  in  no  way  lowers  their  standard  as  works 
of  original  genius.  741 

liecomte,  Georges. 

L'ArT     I.Mt'RESSlONXISTE    D'APRPiS    LA    COLLKC- 
TIOX      PRIVEE     DE     M.      Uu  RAND-RUEI..         36 

Eaux-Fortes.  pointe-seches  et  Illustrations 
dans  le  texte  de  A.  M.  Lauzet.     N.  Y.,  Du- 
rand-Ruel.  iSq2,  $10. 
It  is,  perhaps,  too  early  to  compose  a  general  trea- 


tise on  "  Impressionism."  This  volume  contains  an  ac- 
count of  the  leading  painters  of  that  schooL  Oegas, 
Manet,  Monet,  Piss.iro,  Sisley,  and  others,  and  the 
sculptor  Rodin.  Illustrations  in  b'ack  and  wliitc  can 
give  but  a  slight  idea  of  the  paintings  which  ihcy  are 
supposed  to  represent.  It  is  desirable,  therefore,  that 
a  cheaper  edition  without  the  illustrations  should  be 
offered.  Moreover,  as  the  artists  who  have  built  up 
this  powerful  school  are  still  for  the  most  part  living, 
better  works  on  the  general  subject  may  be  expected; 
but  every  student  of  art  ought  to  know  sometliing  of 
impressionism,  for  there  is  no  school  of  our  dav  so 
original,  and  few  so  powerful  and  suggestive.     7o9.4 

Lecoy  de  la  Marche,  Albert. 

Les   Slt.ai'x.       (ILE.B.A.)       Paris,    (Quantin, 
1SS9.  5  fr. 

The  study  of  seals  is  closely  akin  to  that  of  coins 
and  medals.  It  is  to  be  observed  that  the  sculptor  in 
either  case  engraves  in  the  hollow  or  in  the  sunken  die, 
in  intaglio— as  the  phrase  is  taken  from  the  Italian. 
In  the  case  of  seals  the  impression  is  taken  from  this 
die  in  some  soft  material ;  in  the  case  of  coins  and 
medals  it  is  taken  in  metal  and  with  verygrreat  pressure. 

Historically  seals  are  of  great  value  in  the  way  of 
dating  other  important  works  of  art,  because  they  very 
commonly  bear  the  exact  date  of  their  execution,  or 
lacking  this,  they  often  contain  portraits  of  sovereigns, 
with  their  names  and  titles,  and  are  thus  capable  of 
being  dated  accurately.  They  are  valuable  also  for 
costume,  including  armor  and  royal,  noble,  and  clerical 
insignia.  Compare  what  is  said  of  Mr.  Dcmay's  book 
in  Part  IV.  929.8 

Lefort,  Paul. 

Les  Cmefs-d'CEfvre  de  L'Art  af  XIX.  Sif:- 

CLE         La    PeINTIKE    FraN(;A1SE    ArTfEI.I.E. 

Paris,     Montgredien,     Librairie     lUustrfee. 

26  fr. 

Belongs  to  the  series  catalogued  under  the  names 
of  Gonse,  De  Lostalot,  Michel,  and  De  W'yzewa.  It 
IS  a  very  good  account  of  French  painting  from 
about  1870  to  the  present  time.  During  these  years 
very  important  growth  and  development  has  marked 
the  state  of  painting  in  France,  and  the  reader  is  re- 
minded that  the  more  recent  the  artists,  the  less  is  to  be 
found  concerning  them  and  their  works  in  the  accessible 
books  of  reference.  759.4 

La  Peinti're  EsrAGNOL*E.     (B.E.B.A.)     Paris, 
Quantin,  5  fr. 

Undoubtedly  the  best  account  of  Spanish  painting 

Procurable  in  a  very  small  volume  and  at  a  low  price. 
\.  begins  with  the  i\Ianuscript  decoration  of  the  early 
Middle  Ages.     Its  lone  of  criticism  is  just  and  equable. 

759.6 

\'ELAsnfEZ.       (L.A.C.)       Paris,    Librairie    de 
I'Art,  iSSS,  fr.  8.50. 

Mr.  Lefort  has  given  special  attention  to  Spanish 
painting,  and  this  brief  biographv  of  Velasquez  is 
worthy  of  careful  comparison  with  the  more  recent 
works  by  Armstrong  and  Stevenson,  and  the  larger 
ones  by  Justi  and  Maxwell.  769.6 

Leighton,  Sir  Frederick.     Sct-  Rhys.  E. 

Lenormant,  Francois. 

MoNNAiES  ET  M£l)AILLEs.    (B.E.B.A.)    Paris. 
Quantin.  5  fr. 

By  an  archaeologist  of  excellent  standing,  recently 
deceased.  He  had  given  especial  attention  to  numis- 
matics and  the  study  of  medallions,  and  is  the  author 
of  important  works  on  these  subjects.  See  also  Hum- 
phreys. 737 

Leonardo.     See  Richter,  Jean  !*aul,  uiit/  Sweet- 
ser. M.  F. 

Lindsay,  Loni. 
Sketches   of  the    History  op  "Christian 

Art.      Lond.,  Murray,  1SS6.  2  v..  24s. 

This  work,  which  was  intended  to  treat  of  the  re- 
ligious meaning  and  the  sentiment  of  Italian  painting, 
was  never  earned  beyond  the  time  of  Fra  Angelica. 
Its  tone  of  discussion  I's  extremely  delicate  and  just.  It 
IS  to  be  compared  with  such  a  book  as  Rio's,  and,  for 
its  account  of  Christian  myths,  and  their  significance, 
with  Mrs.  Jameson's.  247 


28 


Painting  and  Sculpture. 


liinton,  W.  J. 

Woon-ENGKAVING  :  A  Manuai.  of  Instruc- 
tion.     Illus.     N.  Y.,  Macmillan,  %■},. 

By  one  of  the  most  able  and  truly  artistic  engravers 
of  modern  times  on  his  own  art.  its  technicalities  and 
true  nature,  and  us  history,  Mr.  Linton  is  one  of 
those  very  few  artists  who  know  how  to  write  upon 
art.  In  reading  his  work  one  learns  not  only  much 
about  wood-engraving  but  also  much  about  art  as  the 
artist  sees  it.  761 

Lorrain,  Claude.  .S',.-  Grahame,  G.;  Michel. 
Emil  ;  Paulson,  Mi-s,  Mark  ,  <;«</ Sweetser, 
M.  F. 

Low,  Will  H. 

A  Centi'kv  of  Painting.  MtClurc's  A[cif;a- 
zinc.  N.  Y..  S.  S.  McClure  Co.,  12  nos,, 
Si. 

This  series  of  papers  began  Dec. ,  1S95,  was  continued 
10  Oct  ,  J896,  inclusive,  and  concluded  Apr.,  1897  It 
forms  a  consecutive  account  of  the  painting  which  has 
Its  centre  in  Pans  during  the  hundred  years  ending  in 
1890  or  thereabout.  Mr.  Low  is  an  American  painter 
of  reputation  and  ability,  of  Parisian  teaching  but  now 
for  many  years  a  resident  of  New  York.  His  articles 
are  illustrated  by  a  great  number  of  tolerably  success- 
ful half-tone  prints.  759.1 

Jean   Leon  Gerome  :    Maurice  Boutet   de 

MONVEL. 

In  "  Modern  French  Masters." 

Very  careful  reading  will  interpret  Mr.  Low's 
guarded  expressions  of  opinion,  which  opinion  is  alto- 
gether worth  having  when  it  is  found.  That  Gerume 
IS  not  much  of  a  painter  but  a  very  powerful  illustrator, 
that  IS,  a  story-teller  and  even  a  historian  in  line  and 
color,  is  an  important  fact  which  the  author  of  these 
notices  lets  us  see,  although  he  does  not  say  it  in  any 
one  place  very  plainly.  As  for  the  less  "known  artist 
who,  although  working  as  an  illustrator,  is  really  an 
artist  pure  and  simple,  Mr.  Low's  paper  is  almost  the 
only  information  about  him  which  is  easily  accessible  ; 
its  accuracy  and  precision  of  statement,  leave  nothing 
to  be  desired.  759.4 

liUbke,  Wilhelm. 

Geschichte    der    Italienischen    Malerei. 

Stuttgart,  Ebner  &  Seubert,  1878,  54  marks. 

First  published  in  1878  ;  does  not  replace  any  of  the 
other  rather  numerous  works  on  the  same  subject,  but 
has  its  value,  and  should  be  added  to  a  library  at  all 
rich  in  works  on  Fine  Art.  735 

JVIacklin,  Rev.  Herbert  W. 

Monumental  Brasses.     Illus.     Lond.,  Swan 

Sonnenschein  &  Co.,   1S90,  3s.  6d.     N.  Y., 

Macmillan,  ^1.25. 

England  is  richer  than  the  countries  on  the  Conti- 
nent in  the  engraved  metal  plates  which  formed  the 
most  ornamental  part  of  medieval  tombs.  These 
plates  are  deeply  engraved  with  figures  of  knights  in 
their  armor  and  ladies  in  their  more  splendid  dresses  ; 
the  study  of  the  history  of  costume  owes  much  to  them. 
The  inscriptions  are  often  of  historical  interest  and  the 
engraving,  though  simple,  is  well  worthy  of  study  as  a 
branch  of  the  decorative  art  of  the  time.  247.3 

Mangeant,  P.  E. 

Antoine  Ete.x,  Peintre,  Sculpteur  et  Ar- 
ciiitecte.  Versailles,  P.  E.  Mangeant,  1895. 

Etex  is  the  celebrated  sculptor  of  one  of  the  great 
groups  on  the  Arc  de  I'Etoile.  He  is  far  better  known 
as  a  sculptor  than  in  any  other  way  ;  his  active  career 
lasted  through  the  reigns.of  Louis  Philippe  and  Napo- 
leon III.  700 

Mantz,  PauL 

Hans  Holbein  :  Dessins  et  c^ravures  sous  la 
direction  de  Edouard  Lievre.  Paris,  Quan- 
tin,  1879,  100  fr. 

This  Life  of  Holbein  is  by  a  competent  writer ;  the 
illustrations  are  very  numerous  and  useful,  though  not 
generally  photographic.     Mr.  Liivre  is  well  known  as 


an  etcher  of  merit  who  has  made  it  his  peculiar  task  to 
reproduce  with  extreme  accuracy  ancient  works  oi  art, 
especially  decorative  pieces  His  trainint^  has  filie  I 
him  well  for  producing  the  close  copies  required  for 
Holbein's  paintings  and  drawings  7*30 

Fran(;ois  Boucher,  Lemoyne  et    Natoire. 
Paris.  Quantin.  1880.  100  fr. 

Boucher  is  the  best  known  ot  the  painters  of  the 
reign  of  Louis  XV.  His  pictures  form  an  important 
part  of  the  rich  decoration  o(  the  interiors  which  we 
now  call  "  rococo  "  and  "  Pompadour  "  .  they  appear  as 
panels  above  doors  or  m  the  large  coves  at  the  top  of 
walls,  as  well  as  separately  framed  like  what  are  called 
easel-pictures  He  is  eminently  a  decorative  artist,  and 
the  dainty  ornament  of  the  time  would  hardly  have 
been  all  that  it  was  without  his  aid.  The  illustrations 
to  this  volume  are  very  numerous,  mostly  etchings  after 
the  artist's  paintings,  though  a  few  are  his  original 
work  Lemoyne  and  Natoire  are  less  known  artists  of 
the  same  period.  By  far  the  greater  part  of  this  volume 
and  nearly  all  the  illustrations  are  devoted  to  Boucher. 

759  4 

Marquand,  Allan,  ami   Prothingham,  Arthur 

History  of  Sculpture.     N.  Y.,   Longmans. 
1896.  Si. 50. 

One  of  the  Series  of  College  Histories  of  Art.  see 
under  Hamlin  and  Van  Dyke.  In  spite  of  the  title  it  is 
devoted  to  European  sculpture  exclusively,  and  that 
since  the  beginning  of  historical  times.  It  is  illustrated 
by  113  half-tone  prints,  and,  as  in  the  other  volumes  of 
the  series,  each  chapter  is  headed  by  a  bibliography 
and  is  closed  by  other  useful  information  in  concen- 
trated form.  There  is  also  a  table  of  the  addresses  of 
makers  of  photographs  and  plaster  casts:  a  really  in- 
valuable help  to  the  student  in  this  country.  The  two 
authors  are  scholars  of  the  right  sort ;  each  in  his  way 
as  thorough  and  careful  as  could  be  desired — systematic 
and  critical.  730 

Marx,  Roger. 

Henri  Re(;naitlt.     (L.A.C.)    Paris,  Librairle 
de  I'Art,  1SS6.  7  fr. 

Regnault  was  already  famous,  and  deservedly  so, 
when  at  the  age  of  twenty-eight  he  was  killed  during 
the  fights  before  Paris.  His  most  celebrated  picture  is 
the  portrait  of  .Marshal  Prim  now  in  the  Louvre.  This 
volume  contains  a  number  of  successful  illustrations. 

759.4 

Mason,  George  C. 

Life  and  Works  of  Gilbert  Stuart.     N.  Y., 
Scribner,  1S79,  $10. 

For  Americans,  Stuart  has  a  peculiar  value  beyond 
his  artistic  merit,  though  that  is  considerable.  The 
book  before  us  contains  ten  photographic  copies  ol 
portT'aits  by  the  artist,  besides  the  two  of  the  "Gibts 
Washington  "  and  two  portraits  of  Stuart  himself.  Tlie 
text  is  interesting  biographically  and  historically. 

759.1 

Mesnard,  Leonce. 

La  Peinture  a  Sienne. 


Paris,  1878.     O.P. 


The  Sienese  School  has  a  value  in  early  Italian  paint- 
ing more  nearly  equal  to  that  of  the  Florentine  Schoo' 
than  readers  of  V^asari  are  led  to  suppose.  This  bool- 
partly  corrects  the  erroneous  impression  referred  t-i 
and  is  of  general  value  in  the  history  of  the  art. 

75P.5 

Michel,  Andre. 

Les    Chefs    iVCEuvre   de   L'Art   au    XIX. 

SlECLE.        L'ECOLE   FraNC^AISE   DE    INGRES    A 

Delacroi.x.     Paris,  Montgredien,  Librairie 

Tllustree,  26  fr. 

Belongs  to  the  series  catalogued  under  the  names 
of  Gonse,  Letort,  De  Lostalot,  and  De  Wyzewa.  It 
covers  what  may  be  called  the  earliest  epoch  of 
modern  French  painting,  namely  from  about  1770  to 
the  beginning  of  the  contest  between  the  Classic  and 
Romantic  Schools.  It  is  valuable  in  itself,  but  its  pe- 
culiar importance  is  as  a  prelude  to  the  works  by  De 
Lostalot  and  Lefort.  759.4 

Michel,  Emil. 

Rembrandt  :  His  Life,  His  Work,  and  His 
Time.     Transl.   from  the   French   by   Flor- 


Painting  and  Siulf^ture. 


29 


ence  Simmonds.  edited  by  Frederick   Wed- 

more.     Lond..  Wm.  Heinemann,  1S94,  2  v., 

42s. 

A  thorough  and  valuable  treatise  o(  the  life  and  works 
of  one  of  the  greatest  painters  ol  Europe,  who  is  also 
the  recoirnized  chief  of  all  etchers,  past  and  present 
The  French  orisrinal  is  a  large  and  handsome  book  with 
many  illustrations;  the  English  translation  is  made 
still  more  showy  and  expensive,  and  has  added  plates 
These  costly  monographs  often  contain  so  much  that  is 
valuable  to  the  student  that  they  require  special  men 
tion,  and  this  is  one  of  the  best  of  them  There  is  a 
smaller  work  by  the  same  author  in  the  series  called 
Les  Artistes  C^l^bres.     (Paris,  Llbrairie  de  I'Art,  8  fr.) 

759.0 

ErunF.s  sur  l'Histoirf.  di--.  i.'Art  .  Dikco 
Velasquez;  Les  D^huts  vtv  Paysage  dans 
l.'EcoLE  Flamande,  Claiide  Lorrain  ,  Les 
Arts  a  la  Cour  de  Fr£d6ric  IL  Paris. 
Hachette,  1S95,  fr.  3.50. 
Separate  monographs  by  a  very  competent  writer 

made  into  one  volume.  759.6 

Michiels,  Alfred. 

\'an  Dvck  et  ses  ELi;;VES.      Paris,  Rcnotiard, 

iSSi,  20  fr. 

Has  a  number  of  engravings  after  Van  Dyck,  and 
five  excellent  fac-similes  of  those  remarkable  etchings 
of  his,  which  command  the  admiration  of  all  artists  and 
are  rare  and  of  great  value  in  their  best  condition. 

Not  exactly  a  critical  work ;  but  the  information 
given  of  the  surroundings  of  the  painter,  the  condition 
of  the  societies  in  which  he  lived,  and  the  characters 
of  the  men  with  whom  he  associated,  is  very  full  and 
valuable  as  a  preparation  for  the  understanding  of  the 
remarkable  art  of  the  painter.  759.9 

Middleton,  J.  Henry. 

Engraved  Gems  of  Classical  Times,  with  a 
catalogue  of  the  Geins  in  the  Fitzwilliam 
Museum,  Cambridge.  N.  Y.,  Macmillan. 
1S91,  S3. 50. 

The  matter  of  engraved  gems  is  so  very  important 
to  the  student  of  ancient  art  and  of  decorative  art  that 
he  may  well  wish  to  go  farther  than  the  little  hand- 
books of  Babelon  and  Lecov  de  la  Marche  can  take 
him.  This  book  by  an  excellent  all-round  student  of 
art,  recently  deceased,  will  be  found  of  the  very  highest 
value,  and  in  general  seems  to  be  based  on  a  close  per- 
sonal knowledgeofthe  works  of  art  described.  Cameos 
or  gems  carved  in  relief  are  treated  as  well  as  those  en- 
graved as  for  seals.  736 

Article  Schools  of  Painting,   Encyclopaedia 

Britannica,  gth  ed. 

Gives  brief  accounts  of  all  the  principal  schools  and 
names  all  the  greatest  masters.  Many  illustrations. 
The  criticism  is  generally  just. 

Article  Sculpture,  Encyclopedia  Britannica. 
gth  ed. 
Valuable  paper,  both  technical  and  historical. 

Article  VI^ood-Carving,  Encyclopiedia  Britan- 
nica, gth  ed. 

Article    Tempera,   Encyclopredia    Britannica, 

gth  ed. 

Describes  the  process  which  was  most  used  in  Italy 
both  for  wall  work  and  panel  painting  during  the  days 
of  the  early  Renaissance. 

Millet,  Jean  Francois.     Sa-  Cartwright,  Julia  ; 
Roger-Miles.  L. :  (iwi/ Sensier,  A. 

Mitchell,  Lucy  M. 

History   of   Ancient   Sculpti'RE.      N.   Y.. 

Uodd,  Mead  cV:  Co.,  1SS3,  84- 

An  excellent  manual  for  general  use.  It  makes  little 
claim  tooriginalityof  research  on  the  part  of  its  author, 
but  the  marshalling  of  the  facts  and  the  presentation  of 
the  different  theories  is  intelligible,  and  there  is  prob- 
ably no  better  book  for  the  constant  reference  required 
in  a  library  of  line  art.     There  arc  ^oo  illustrations. 


They  arc  not  very  excellent  as  pictures  but  they  serve 
their  purpose  The  publishers  have  issued  a  (M>rlfolio 
with  phototype  illustrations  of  36  pieces  of  sculpture 
under  the  title  "Selections  from  Ancient  Sculpture" 
($4):  this  work  may  be  considered  a  supplement  to  Mrs. 
Mitchell's  volume.  732 

Modern  French  Masters. 

A  Scries  of  Biogra)ihical  and  Critical  Reviews 

by   .American   .Xrtists.      Edited  by   John  C. 

Van  Dyke.     N.  Y.,  Century  Co.,  iSgO,  Sio. 

The  authors  of  this  book  are  I  Carroll  Beckwilh, 
EH  liUashlield,  William  A  Coffin,  Kenyon  Co.v,  Wyatl 
Eaton,  G.  P  A  Ilealy,  Arthur  Hoeber,  William  H. 
Howe,  Samuel  Isham,  vVill  H  Low,  Theodore  Robin, 
son.  D  \V  Tryon,  H  W  Watrous,  and  J.  Alden  Weir, 
Some  of  the  more  important  articles  are  mentioned 
separately  under  the  artists'  names.  The  book  is  illus- 
trated by  37  large  wood-cuts,  of  that  high  character  of 
excellence  in  artistic  workmanship  which  the  Vfntiiry 
Magazine  has  done  so  much  to  establish,  and  28  half 
tone  prints.  The  editor  expressly  slates  in  his  oreface 
that  It  has  been  with  deliberate  purpose  that  "  tne  best 
wood-engravings  and  the  best  half-tones"  are  put  here 
together  side  by  side  for  comparison. 

As  all  the  articles  in  this  book  are  by  practising 
painter-s  writing  about  other  painters  whose  works  they 
intimately  know,  the  reader  li.as  one  of  the  best  oppor- 
tunities possible  to  see  for  himself  what  professional 
art  criticism  really  is.  There  is  only  one  drawback  to 
keep  in  mind— the  quasi-necessily  of  being  at  once 
entertaining  and  untechnical.  An  artist  wriling  for 
artists  would  produce  something,  on  the  whole,  more 
instructive  for  the  few  who  would  read  it  intelligently. 

750.4 

Modern  Poster,  The. 

By  Arsicne  Alexandre,  M.  H.  Spielman,  H. 
C.    BuNNER,   and   .August  Jaccaci.     Ilhis. 
N.  Y.,  Scribner,  iSgs,  $3. 
See  notes  under  the  names  of  contributors.  740 

MoUett,  John  W. 

REMHR.\Niir.      (G.A.S.)      Lond..    Low,    iSyg. 

3s.  6d.     N.  Y.,  Scribner,  Si. 25. 

Very  judiciously  compiled  from  the  larger  work  of 
Vosmaer  described  in  this  catalogue.  750.0 

Molmenti,  P.  G. 

Cakpaccio,  son  Temps  et  son  OEuvre.     Ve- 

nise,  Ongania,  iSg3,  6  lire. 

Carpaccio's  chief  value  in  the  modern  world  is  as  a 
recorder  of  the  splendid  costumes  and  rich  surround- 
ings of  the  Renaissance,  and  especially  as  a  transmitter 
of  those  strange  architectural  dreams  with  which  the 
XV.  century  men  loved  to  fill  their  b,ackgrounds.  The 
writer  of  these  notes  has  said  elsewhere  that  the  archi- 
tectural Renaissance  can  never  be  rightly  understood 
without  the  study  of  these  designs,  which  were  never 
embodied  except  in  pictures.  750.5 

Moore,  Albert.     Sec  Baldry,  A.  L. 

Moore,  Charles  H. 

Examples  for  Elementary  Practice  in  De- 
lineation, designed  for  the  use  of  Schools 
and  isolated  beginners.  Bost.,  Houghton, 
1SS4,  Si. 

Mr.  Moore  is  instructor  in  drawing  and  the  principles 
of  designing  in  Harvard  University.  As  an  artist  his 
work  has  always  been  remarkable  for  extraordinary 
delicacy  of  tinisli  and  minute  relinement  both  in  line 
and  color.  He  has  always  .advocated  a  far  more  thor- 
ough training  in  linear  drawing  and  firmness  of  outline 
as  a  preparatory  step  towards  linished  work  than  is 
usually  taught  at  present.  This  book  is  a  brief  embodi- 
ment of  his  system  and  contains  twenty  plates  of  outline 
drawing  intended  to  aid  in  his  method  of  work.      740 

Moore,  George. 

Impressions  and  (Ipinions.  N.  Y.,  Scribner, 
Si. 25. 

Four  essays:  "  Meissonicr  and  the  Salon  Julien." 
"Art  for  the  Villa,"  "Degas,"  "New  Pictures  in  the 
National  Gallery."  Sec  what  is  said  of  this  author's 
book  "  Modern  Paintirfj."  750 


Painting  and  Sculpture. 


pamlers.      Thus  the  an.c'e  on         j^^„j„„  p„  ,„, ,  is 
draughtsman  and  cancatunst  01  ^^^^^^  ^^  ^^ 

admirable  art  "''"-'rt^hich  he  loves  and  of  contempt 
thusiast.c  pra.se  of  art  whiOi  ne.o  ^^^^_,  ^ 

for  artists  and  cr.tics  whom  t ne  a  ^^^^  ^^_^^ 

wholly  astray  it.  the.r  a™s  ^"^^^^^u  should  be  read 
almost  whoUy  r.ghtm  .t^endenci  how  artists 

SaTand^^unlrs^rnra'rt^-^  how  art  should  be^.n^ 
terpreted. 


-  l-I, STORY  OK  GrEHK  SCULI'TUKE 
^^^Kr  PhS  \-  His  SUCCESSOR. 
N    Y.,  Scribner,  ?.i4-40- 

Taken  .osether,  these  two  books  --^e  ah.s.ory  of 
sculpture,  Greek  and  C'/sio-Romam     .1  .^_^^_^ 

char'^e,  at  the  BrU.sh  Mu^'im   of  the  G^« 
?s"^?mpred^"n  sci^enX'^^n  L^the  reader  is  helped  bv 
references  to  many  other  authors. 


lUus.    N.Y., 


Morelli,  D. 


.  WiUard,  A.  R. 


30s.  N.  ^-'nnri-,  Pamfili  Galleries.  Vol. 
fr^rtrGatH:r:f  Mut'ich  at^d  mesde. 
Vhi^authoristhecreato^^ofasys.^^ 

ures  in  the  public  Sal  eries  t  j^e  final  result  of  this 

notcometospeakpos   ivelyasto  ^^^  ^pon  close 

novel  system  of  >"1"  ,7'' j'^^s  M  form  and  handling  in 
study  0/ minute  parti™lant^es  o,  ^     meantime,  of 

the  works  of  each  separate  master        ^^^^       nd  should 
singular  i'"?""^"^^,^ 'wuTthe  works  of  Crowe 
ravrSue'and'otheJanalysts  c£  Italian  pa.nt,n^.^^_^ 


Morin,  Louis. 

French    Ilu'str.^tors. 
Claretie.       lUus.,    m 
Scribner,  1S93.  $I5 


Preface 
five    parts. 


bv    Jules 

'N.    Y., 


Muther,  Richard. 

H.STORV  OK  MODERN  P.MNTING. 

Marmillan,  IbQO,  3  v.,  f-o- 

Spt  being  made  '°  ■:  f  |  *\he  l^e  time  the  diffi- 
at  least  1"',°.  g""P?,'''J''';ification  accurate  is  strong  y 
cultyof  making  such  a  classmcat^on  ^^^.^^  ^^^,j 

insisted  on.     Departments  mm  n,pathies  or  e.t- 

have  seemed  very  remote  from  the  sy    P^   ,  „    a 

perience  of  a  German  professor  or  ^^j-^^  sinpilar 

German  museum,  f^  found  to  oet  ^^^  ^^^  ^^^^^ 

insight  and  sympathy.     The  snort  «         ,i^,e  ,gno- 

are  the  inevitable  °""'  '"^^,<fom ".xhibited  on  the  con- 
rance  of  painters  who  have  seWorn  ^^^^  ^.^^^  ^ble 

tinentof  Europe,  the  total  omssio^^^^  ^^^  ^^. 
artists-probably  f™"''j^omThe  original  works,  but 
ing  of  illustrations,  not  'rom  "le  .^^  ,  ^^  ^^^^y 
from  reproductions  mcontinen  a  ]our^^.^^^  tendency 
such  work   there    is  an    almost  ^^^^,  ^_j      j 

to  treat  the  l'te"''V',°!:"n"of  the  artistic  side.  .This 
art  rather  to  the  exclusion  o'  tnc  expression  is 

ffi^aiuigr|{S-entthisdi^^^^^^^^^^^^^ 
So"rXtTt"eV"ese^^s  ifindeed  extraordinary,  and^. 
has  been  well-directed  work. 


Text   not   important 
beautifullyreproduced 


Contains    il  '""rations    very 
,f  the  work  of  many  art  sts  of 


beaut,fuUy>RrSducedofth      -  _,,^^ 

the  great  Pans  school,  amont"  puv  s-de-Cha- 

'p^alnfers  EdouardDeta.Ue  and  Pierre   V^ 
vannes;    the    marvellous   orag  modern  descrip- 

white,Paul  Renouard;  he  prmce  o  ^^^  vierge;  that 
live  iUustrators  and  story-tel  ers^  Carand'Ache, 

master  of  b™t'^ '^'■<=^"^en  a"  ^V"'^'''  F""'"' ''"''  ^^ 
and  such  well-knovyn  men  as  L-yn         ^^^    ^^^        ^^^ 

Myrbach.  An  article  in  the  ..^«  '^^  writer  draws 
(December  .4,  i8q3>,  •'y^VofTtudv  between  the  French 
k  comparison  well  w°"hy  "« ^'^^^^scribed  in  this  book 
rn'dfa1tt»mpanio^fo?wltich  see  Smith,  F.  Hopkn. 

son. 


Morland,  George.     5.v  Richardson,  R 
has  been. 

";;:;:;r^rviEso.^a..vREETso.TE..s. 

v:-e^:r;S^kn";^-q^ 

S's  rnYto^the  wor'ld  S^fine  art  around  him.      759  5 
DONATEELO.      (L.A.C.)      Paris,    Libraine    de 

'D^:l;e:.!l'gel5r;,ly  taken  as  the  g-a^e^st^s^^^^^^ 
of  the  early  R'="^'^^,t"^r^Jter,  c'^Sainsa  g?eat  many 
5kTua'JeV;SS'rSs%"mrof1hem  representing  p.ec« 
but  very  little  known 


Orchardson,  W.  Q-     S.e  Armstrong,  W. 
Osier,  W.Boscoe  Lond.,   Low,   .8:9.. 

""'^6^    N    Y*    Scrfbner,  $1.25. 

t  enOtusiastic  a-i , admiring  noucj  _of^_a  p^er 
concerning  whom  op.mons  wm  a       )  among  the  half 
Some  will  claim  for  T"."t°^^"whi  e  to  others  he  must 
dozen  greatest  names    n  art  wh  ^^^^^^^^  ^f 
appear  a  man  of  the  secomi  ^^^^  ^,j  ^is  life, 

mate  ability.     As  'here  is  but  utt        ^^  recorded,  but 
?he^;'nlly;?s^orh*lLfork  cannot  be  adequate  unle^c^ar^ 

ried  to  considerable  length. 

written  in  a  German  very  that  is  to  say,  by  the 

perfectly  at  hom?,'n  the  langua^  .      ^^_^^^     ^^^  ^^^,^ 
C-ast  majority  of  Engl.sh-sp^aRm  ^^  ^_^^  ^^  ^f  at 

i.  ,r„.,Ted  bv  a  too  great  wuiuit,  „,.i,ers  concen 


MuriUo.     See  Sweetser,  M.  F. 

iyitirray,A.S.  sculpture   from    the 

"rKUEST"  TmEf  DOWN    TO    THE    AOE    OE  ! 


vastmajoiiL,  "*"••"„„,.  willingness  to  use  as  oi  au- 
is  marred  by  a  t°o  SJ^f-''^„'"ia'-ssical  writers  concen - 
thoritative  value  the  words  otc, a       ^_^_^^_^^^^_.^,_ 

ing  works  of  sculpture     ^  h"e  w  ^^  ^^^,^  sinA^<^A, 

nor  the  writing  of  m^"/„*lXSf  art  of  different  epochs, 
examined.and  compared  works  01  ^^  ^  travellers 

They  are  mere  m<="t.on  in  the  c  ^^weyer  valu- 

observation,orelse  m'^re  aimsio.i ,      .   J  ,i„n  frjm 

able  they  are -^"thl  absence  of  o.her^-^g,  f  ,„e  char^ 
L'i^eroran'lien!Tclt\ure"rs  to  be  got  from  them.    733 

Paris,  Pierre.  mVRK)     Paris, 

L..ScfU-TURE  ANTf-^t-      B.E.B.AJ  ^^  ^^._ 

?,",rsUrTURl""Ed.   by  J.  E.  Harrison. 

Phila.,  Llppincott,  18^9-3-  ^^_ 

Treats  of  the  f"P'"//Et™?i|,  and  Rome.     It  cov- 
tions,  of  Egypt,  "«  Greece,  fctrur  ^^  ^^^  'chapters 

:;^ai;t^t  ?rifThe\«B;he.on,^Con^-n,  W 

ibth^'lr^aStoT^^t^ub';e^^Vbydi«erentauthc>r^^ 


Painting  ami  Sculpture. 


3' 


Pattison,  .I/;«,-.  Mark. 

Claude   Lorraix,   sa   Vie   et   ses  OJi-vres, 

d'aprfes    des  documents  inedits.      Paris,   Li- 

brairic  d^  I'Art,  35  fr. 

Compare  what  i  .  said  of  this  writer  under  "  The  Re- 
naissance of  Art  in  France,"  and  also  under  Dilke. 
This  treatise  is  chiefly  valuable  for  the  great  amount  of 
information  it  contains  and  the  chronological  and  other 
tables  which  are  added  to  it ;  there  are  also  a  number 
of  full-pai^e  plates.  It  would  be  too  much  to  say  that 
the  art  of  Claude — an  art  very  difficult  to  criticise 
rightly— is  altotjctlier  well  explained  in  this  book,  but  it 
is^far  more  likely  to  lead  to  correct  than  to  erroneous 
views.  759.4 

Paul  Veronese.     .SV,-  Yriarte,  C. 

PennelJ,  Joseph. 

Pe.\  Ukawinc;  and  Pen'  DRAfGHTSMEN  :  their 
work  and  their  methods  ;  a  study  of  the 
art  to-day,  with  technical  suggestions.  Illus. 
N.  Y.,  .\iacmillan,  1S94,  $15. 
Mr.  Pennell  is  himself  an  artist  in  pen  drawing  for 
reproduction.  In  this  work  he  gives  advice  to  those 
who  would  become  skilful  in  the  art ;  he  gives  also  a 

freat  number  of  notices  of  artists  of  our  time  who  have 
een  eminent  in  this  art,  together  with  specimens  of 
their  work.  In  the  course  of  his  argument  the  desire 
to  insist  upon  the  one  merit  of  skill  in  pen  drawing,  in- 
tended for  reproduction,  has  led  him  into  strange  criti- 
cisms of  great  men  of  the  past.  For  most  readers  the 
attractiveness  of  the  book  will  be  in  the  illustrations, 
which  form  a  sort  of  encyclopaedia  of  black  and  white 
of  the  day,  but  in  this  respect  it  would  be  more  useful 
and  certainly  more  entertaining  if  their  titles  and  leg- 
ends were  given  to  the  pictures.  740 

Modern  Ilhstration.  Illus.  Lond.,  Geo. 
Bell  &  Sons.  N.  ¥.,  Macmillan,  S3-50- 
It  has  been  said  in  speaking  of  Mr.  Pennell's  larger 
book  on  "Pen  Drawing,"  that  its  chief  use  to  most 
readers  would  be  that  of  a  treatise  on  modern  book  il- 
lustration. The  present  volume  is  useful  i,i  a  similar 
way,  and  is  much  smaller  and  less  expensive.  The  re- 
productions are  very  uneven  in  quality.  Here,  as  in 
the  larger  work,  the  pictures  would  be  more  interesting 
if  the  titles  were  given.  655.53 

The  Illi'stration  of  Books  :  a  Manual  for 
the  Use  of  Students  ;  Notes  for  a  Course  of 
Lectures  at  the  Slade  School,  University 
CjUege.  Lond.,  T.  Fisher  L'nvvin.  N.  Y., 
Century  Co.,  1S96,  $1. 

In  this  little  volume  the  practical  instructions  to  pen 
■draughtsmen  who  wish  to  work  for  reproduction,  which 
instructions  are  also  included  in  the  larger  woik,  are 
given  in  a  compact  form,  and  with  additions  and  a  new 
arrangement.  The  author  is  an  enthusiast  for  the  art 
of  which  he  treats  and  to  which  he  has  devoted  himself. 

655.53 

Perkins,  Charles  C. 

HisTORicAi.  Handbook  of  Italian  ScfLrx- 
URE.  Illus.  N.  Y.,  Scribner,  84. 
Devoted  chiefly  to  the  sculpture  of  Central  and 
Northern  Italy  from  about  130a  to  about  1600.  It  con- 
tains many  errors,  and  should  be  wholly  revised  in  the 
light  of  modern  discoveries,  but  it  can  give  a  good 
general  account  of  this  very  important  phase  of  art. 

735 

Perry,  Walter  Copland. 

Greek  and  Roman  ScuLPTfRE.  Illus.  Lond., 
Longmans.  1SS2.  Out  of  print. 
Valuable  for  the  systematic  arrangement  of  the  in- 
formation concerning  ancient  sculpture  as  we  obtain  it 
fromthewritersof  antiquity,  and  the  comparison  of  this 
information  with  the  extant  works  which  are  thought  to 
be  of  the  same  period.  See,  however,  what  is  said, 
under  Overbeck,  of  what  ancient  writers  have  said  of 
ancient  art.  733 

Phidias.     .SV.'  Collignon.  M. 

Phillips,  Claude. 

Anioine   W'ATTEAf.      Portfolio    Monograph, 


June,  1895.     Lend..  Seeley  &  Co.     N.  Y., 

Macmillan,  75  c. 

Wattcau  IS  in  a  certain  sense  to  be  compared  with 
Hogarth.  Each  was  a  painter  whose  subjects  were  of 
such  a  character  that  they  aUmc  are  regarded  in  looking 
at  the  work  of  art,  while  in  cich  the  painting  itself  is 
masterly  both  in  intention  and  tcchnic.  Even  painters 
disregard  Hogarth  too  much,  f  irgetling  that  lie  is  so 
much  more  than  a  mere  recorder  or  a  mere  caricaturist: 
while  Watteau,  though  his  work  is  universally  admired 
by  those  who  are  most  fitted  to  appreciate  it,  is  little  re- 
garded by  the  student  in  general.  The  present  author 
calls  Watteau  the  greatest  of  small  masters ;  but  he  is, 
perhaps,  even  more  than  this.  759.4 


Scril 


incr. 


Sir    JosiUA    Reynolds.      N.    Y 

1S94,  S2.50. 

One  of  the  best  of  recent  monographs.  Contains 
nine  illustrations  from  prints  by  the  master.         759.2 

Frederick  Walker.     Portfolio  Monograph. 

lune,    1S94.     Lond.,  Seeley  &  Co.     N.   Y., 

"Macmillan,  75  c. 

A  vigorous  and  really  critical  monograph  on  the 
work  ofan  admirable  artist  who  died  in  187s.       759.2 

The  PicTiRK  Gallery  of  Charles  I.     Port- 
folio Monograph,  Jan..  1S96.     Lond..  Seeley 
^i-Co,     N.  Y..  Macmillan,  $1.25. 
Charles  I.  of  England  owned  a  very  large  collection 
of  paintings,   many  of  them  of  the  highest  possible 
value.    The  authorities  of  the  Commonwealth  ordered 
the  sale  of  these,  and  they  were  scattered  over  Europe. 
The  present  work  is  a  praiseworthy  attempt  to  enumer- 
ate them  and  to  ascertain  their  present  location.     Many 
very  good  photographic  reproductions  arc  given.    750 

Pollard,  A.  W. 

Italian  Book  Ilu'strations,  chiefly  of  the 
XV.  century.  Portfolio  Monograph,  Dec. 
1894.  Lond.,  Seeley  &  Co.  N.  Y.,  Mac- 
millan, 75  c. 

A  good  and  appreciative  essay  on  a  class  of  books 
which  are  among  the  most  beautiful  in  the  world  by 
means  of  their  illustrations,  in  which  the  fresh  charm 
of  the  early  Renaissance  exists  unmarred  by  other  in- 
fluences. There  are  many  examples  given  in  reiiroduc- 
tions  generally  good  ;  the  text  is  valuable.         655.53 

Poster,  The  Modern.     .S",v  Modern. 

Poynter,  Edward  J. 

Ten  Lectures  on  Art.     3d  ed.     Lond.,  Chap- 
man \'  Hall,  9s. 
Contains  very  just  conclusions  as  to  fine  art  and  very 

clearly  expressed  analysis  of  painting  of  many  schools. 

The  comparisons  of  Continental  painting  with  English 

are  fair  and  almost  wholly  satisfactory.  750 

Poynter,  Edward  J.,  Ei/ilor. 

A  series  of  "  .Art  Handbooks. 


Illustrated. 


Poynter,  E.  J.,  <:iiJ  Head,  P.  R.  Paint- 
iNi;,  Classical  and  Italian.  N.  Y., 
Scribner,  $2.  759 

Smith,  Gerard  W.  Painting.  French  and 
Spanish.     N.  Y.,  Scribner,  $2.  769.4 

Buxton,   H.   J.   W.,  •Ill,/  Poynter,   E.   J. 

German,  Flemish,  and  1)i  ich  Painiinu. 
X.  Y..  Scribner.  S2.  759 

Redgrave,  Gilbert  R.  1 1  istory  of  Water- 
Color  Painting  in  England.  N.  V.. 
Scribner,  $2.  759.2 

Buxton,  H.  J.  Wilmot.    F.Nr.i.isir  Painters: 
With  a  Chapter  on  ,\mcrican  Painters  by 
S.  R.  Koehler.   N.  Y.,  Scribner,  $2.     759.2 
These  five  books  may  be  taken  together  .as  forming 
a  history  of  Painters  and  Painting  in  the  sense  that 
they  tell  what  Painters  have  been  successful  and  fa- 
mous in  the  different  countries  of  Europe  and  ia  the 


32 


Painting  and  Sculpture. 


United  States  before  about  i860,  that  they  give  dates, 
mention  by  name  the  more  celebrated  pictures,  and 

give  prominence  to  those  artists  who  are  esteemed  the 
ringers  m  of  important  changes  and  as  tounders  of 
new  schools  Considered  as  works  of  criticism,  they 
fail  m  that  there  is  a  visible  attempt  to  explain  what 
cannot  easily  be  explained  m  words,  except  at  great 
length,  and  that,  moreover,  they  seem  to  be  written 
rather  by  scholars  famihar  with  the  externals  of  art, 
and  knowing  little  o(  its  essential  character,  In  these 
respects  the  book  on  water-color  m  England  is  much 
the  best,  but  this  is  partly  because  259  pages  are  de- 
voted to  this  small  subject;  a  space  ten  times  as  great 
as  It  would  occupy  in  proportion  with  the  others,  A 
brie!  synoptical  history  of  painting  would  be  best  in 
the  form  of  a  biographical  dictionary  o(  artists  ar- 
ranged in  the  order  of  their  schools  Ha  dictionary 
such  as  Bryan's  or  Seubert's  could  be  rearranged  so 
that  the  notices  would  follow  one  another  systemati- 
cally and  not  alphabetically,  and  made  accessible  by 
a  lull  alphabetical  index,  the  comparative  length  of 
the  notices  would  show  the  student  which  were  the 
more  important  artists,  and  differences  of  type  and  so 
forth  might  be  utilized  In  this  way  the  necessity  of 
keeping  up  a  continuous  narrative  would  be  avoided. 
The  author  would  not  attempt  to  make  his  story  at- 
tractive except  as  to  one  artist  at  a  time.  Something 
like  this  IS  done  in  the  volume  above  named  on  Ger- 
man, Flemish,  and  Dutch  Painting— the  most  useful  of 
the  series.  It  is  probable  that  books  covering  so  large 
a  field  as  the  painting  of  even  one  great  nation  are 
seldom  read  consecutively;  they  are  used  for  reference. 
Only  books  on  a  much  larger  scale,  with  much  more 
opportunity  for  detail  and  comparison,  can  be  made 
agreeable  reading. 

With  regard  to  one  volume  of  this  series  it  should 
be  said  that  the  sketch  of  "  American  Art  "  does  not  in- 
clude the  men  who  have  made  it  what  it  now  is,  even 
artists  so  long  before  the  public  as  La  Farge,  Inness, 
Chase,  and  Martin  being  omitted.  Probably  it  was 
not  meant  to  include  men  living  when  the  book  was 
written. 

Propert,  J.  L. 

History  of  Mixiature  Art  ;  with  notes  on 
Collectors  and  Collections.  Illus.  N.  Y.. 
Macmillan,  1SS7,  $27.50. 

Almost  wholly  devoted  to  the  painting  of  very  small 
pictures.  This  covers  the  ground  of  paintings  in  medi- 
aeval manuscripts,  and  following  these,  chiefly  the  small 
portraits  arranged  medallion-wise  of  the  XVI.,  XVII., 
and  XVIII,  centuries.  It  is  to  this  art  that  all  the  illus- 
trations except  one  plate  are  devoted.  There  are  chap- 
ters also  on  modelling  in  wax,  snuff-boxes,  etc.,  and  an 
interesting  discussion  of  collectors  and  collecting.  The 
plates  are  of  singular  value.  757 

RadcliflFe,  A.  G. 

Schools  and  Masters  of  Sculpture.  N.  Y., 
Appleton,  S3. 

A  sketch  of  the  History  of  Sculpture  in  all  ages. 
There  has  been  a  serious  attempt  to  make  an  interesting 
continuous  narrative  of  each  chapter,  and  the  attempt 
is  more  nearly  successful  than  could  be  anticipated. 
The  critical  value  of  different  chapters  varies  greatly; 
thus  the  account  of  Gothic  sculpture  isof  !ittle  utility, 
that  of  sculpture  under  the  Romans  is  marred  by  too 
great  willingness  to  accept  as  fact  what  is  only  assumed, 
while  the  account  of  nineteenth  century  sculpture  is 
usually  good  and  shows  much  critical  insight.  A  great 
deal  of  space  is  taken  up  by  mere  anecdote ;  and  this 
has  the  additional  bad  result  that  contemporary  gossip 
about  a  work  of  art  is  allowed  to  influence  opinion 
as  to  the  work  itself  and  its  value.  The  book  ends 
with  two  chapters  on  the  museums  of  Europe  and 
America,  but  these  are  far  too  brief  to  be  of  much 
value  as  guides  to  the  student.  There  are  about  thirty 
full-page  photographic  illustrations  of  representative 
sculptures.  730 

Schools  axd  Masters  of  Painting.     N.  Y., 

Appleton.  $3. 

Has  nearly  the  same  character  as  the  companion 
volume  on  sculpture.  759 

Raphae?.     See  Cartwright,    Julia;    Muntz,    E. ; 
Sweetzer,  M.  F. 

Eedford,  George. 

Sculpture  :    Egyptian,    Assyrian,    Greek, 
AND  Roman.   (Art  Handbook  Series.)  N.Y., 
Scribner,  $2. 
A  good  general  account  of  ancient  sculpture ;  nay 


be  trusted  for  the  general  accuracy  of  its  statements. 
It  seems  carelessly  written,  however,  as  if  the  exact 
force  of  words  was  not  felt.  732 

Redgrave,  Richard  and  Samuel. 

A  Century  of  Palnters  (jk  the  English 
School.  2d  ed.  Abridged  and  illustrated. 
Lund..  Sampson  Low.  i8go,  7s.  6d. 

An  account  of  the  English  painters  from  the  time  of 
Henry  VIII.  to  the  close  of  the  generation  which  was 
passing  away  about  1885.  It  is  very  readably  written 
in  narrative  form.  Few  books  of  the  kind  areas  just 
and  sympathetic  as  this.  It  does  not  give  the  names  of 
those  living  in  i8Sq.  759.2 

Redgrave,  Samuel. 

Dictionary  of  Artists  of  the  English 
Schools,  etc.  New  and  revised  edition. 
N.  Y..  Macmillan,  S5. 

Contains  much  the  same  matter  as  a  "Century  of 
Painters,"  but  arranged  alphabetically  under  names  of 
artists,  and  to  this  adds  notices  of  sculptors,  architects, 
etc.  703 

Rees,  J.  Ruutz. 

Horace  Vernet:  Paul  Delaroche.  (G.A.S.) 
Lond.,  Low,  1879,  3S.  6d.  N.  Y.,  Scribner. 
Si. 25. 

Comprises  two  papers.  Of  the  first  paper  it  is  to  be 
said  that  Vernet's  work  has  no  such  value  as  this  au- 
thor ascribes  to  it ;  no  artist  would  join  for  one  moment 
m  the  praise  awarded  to  him  here.  The  other  paper  is 
more  judicious  in  the  matter  of  artistic  appreciation. 
In  fact  the  sense  of  Delaroche's  place  in  art  seems  to 
be  adequate.  Both  the  essays  are  made  valuable  to  the 
student  of  modern  painting  by  the  list  of  works,  dates, 
anecdotes,  etc.  759.4 

Reid,  George. 

Article  Painting,  Encyclopaedia  Britannica, 
gth  ed. 

Devoted  practically  to  descriptions  of  different 
processes,  with  valuable  hints. 


Illus.     N.   Y.,  Macmil- 


Reinach,  Salomon. 

Rom.vn  Sculpture. 
Ian. 

Announced  without  date. 

The  author  is  a  well-known  archaeologist  who  has 
given  unusual  attention  to  the  Roman  antiquities  with 
which  France  and  her  colonies  are  richly  endowed  :  he 
has  also  published  monographs  on  the  Trajan  column 
at  Rome  and  on  separate  works  of  Greek  art.  He  is 
Director  of  the  Archaeological  Museum  at  St.  Germain- 
en-Laye  near  Paris.  733 

Regnault,  Henri.     See  Marx.  R..  and  Hamer- 

ton,  P.  G.,  under  "Modern  Frenchmen." 

Rembrandt.  See  Haden,  Francis  Seymour  ; 
Hamerton.  P.  G. ;  Mollett,  J.  W.;  Sweetser, 
M.  F. ;  (7«t/ Vosmaer,  C. 

Reynolds,  Sir  Joshua.  See  Chesneau,  Ernest  ; 
Phillips,  C;  (7/;^/ Sweetser,  M.  F. 

Rhys,  Ernest. 

Sir  Frederic  Leighton:  an  illustrated  chron- 
icle, with  prefatory  essay  bv  F.  G.  Stephens. 
Illus.  Lond..  George  Bell"&  Sons.  N.  Y., 
Macmillan.  1S95,  §20. 

Leighton,  late  President  of  the  Royal  Academy,  was 
one  of  those  painters  who  both  achieved  and  deserved 
great  success.  He  was  a  man  of  e.xtraordinary  ability 
and  a  hard  and  constant  worker;  if  his  art  is  less  fas- 
cinating than  that  of  some  of  his  contemporaries,  it  is 
full  of  merit,  showing  both  force  and  delicacy.    A  cora- 

Earison  between  him  and  two  other  English  painters  of 
is  time  is  suggested  under  Bell's  "  Burne-Jones." 

759.2 
Ricci,  Corrado. 
Antonio  Allegri  da  Correggio  :  His  Life, 
His   Friends,   and   His  Time.      Transl.   by 


Paintiri!^  and  Sculpture. 


35 


Florence  Simmonds.      Illus.     N.  Y.,  Scrib- 
ner,  1804.  S12. 

One  of  the  most  inlercstinjj  and  valuable  of  ihc 
monographs  which  are  now  so  numerous  The  illus 
irations  arc  not  so  beautiful  as  those  o(  many  other 
similar  books,  but  ihey  are  photographic  reproductions, 
trustworthy  as  far  as  they  fj'^.  ^nd  abundant.  Corrcji 
gii's  frescoes  at  !\irma  are  thought  by  many  excellent 
judges  to  be  the  finest  mural  paintings  m  Europe  ;  these 
are  discussed  both  historically  and  critically,  at  great 
length  and  in  an  excellent  spirit.  759.5 

Richardson,  Ralph. 

Gf.okge  Mori.am)    Painter.     Lond.,   Elliott 
Stuck.  1895    7s.  ()d. 

A  typical,  brief,  and  inexpensive  biography  of  an 
artist;  for  this  reason  it  is  mentioned  here,  for  it  would 
be  impossible  to  give  the  biographies  of  m:iny  ar- 
tists of  Morland's  rank,  respectable  though  that  rank  is 
His  pictures  are  now  (13961  in  great  favor,  and  that 
popularity  has  brought  this  book  into  existence.  It 
contains  as  complete  a  list  of  his  paintings,  and  of  the 
engravings  made  from  them,  as  was  possible  to  the 
author,  six  illustrations.  The  narrative  is  of  great  in- 
terest. 759.2 

Richter,  Jean  Paul. 

Leonardo.     (G.A.S.)     Lond.,  Low,  1879,  3s. 
6d.     N.  Y.,  Scribner,  $1.25. 

An  intelligent  account  of  the  life  and  what  little  is 
known  of  the  work  of  a  wholly  exceptional  genius.  It 
IS  impossible  to  study  Leonardo  too  closely,  because 
accident  as  well  as  unfortunate  traits  of  the  man  have 
destroyed  nearly  all  his  important  works  of  art ,  be- 
cause, moreover,  as  a  painter  Leonardo  is  one  of  the 
most  faulty  of  masters  while  also  one  of  the  greatest. 

759.5 

r:o,  a.  f. 

L'Art  Chretien.     Nouvelle  Edition,  augmen- 
tee.     Paris,  Retaux,  4  v.,  15  fr. 

An  account  of  Italian  art,  mainly  painting,  from  the 
point  of  view  of  a  devout  Catholic,  and  one  far  less 
interested  in  the  purely  artistic  view  of  the  work  of  art 
than  in  its  religious  or  social  tendencies.  In  spite  of 
this  uncritical  treatment  of  the  subject,  the  book  has 
value  to  any  one  who  is  studying  Italian  painting  seri- 
ously. 759.5 

Epilggce   a   L'Art   Chretien,      Paris,    Re- 
taux, 2  v.,  6  fr. 

Not  a  continuation  in  any  sense  of  "  L'Art  Chretien," 
by  the  same  author,  but  rather  a  treatise  upon  the  in- 
fluences and  theories  which  led  to  the  composition  of 
that  well-known  book.  This  work  is  mentioned  chiefly 
because  of  its  value  in  making  clear  the  remarkable 
attempt  to  include  art  in  a  system  of  Christian  philos- 
ophy which  was  made  bj  Lamennais  partly  with  Rio's 
assistance.  759.5 

Leonardo  da  Vinci  et  son  Ecole.      Paris, 

A.  Bray,  1S55.  fr.  3.50. 

See  what  is  said  of  this  writer  under  his  "  L'Art 
Chretien."  Leonardo  and  his  art  form  an  interesting 
subject  when  treated  from  this  author's  point  of  view, 
because  Leonardo  was  reputed  in  his  own  time  to  be 
rather  a  philosopher  than  a  good  Catholic.  759.5 

Roger-MileSj  L. 

Le  Pavsan  DANS  L'CErvRF.  tie  J.  F.  Millet. 

Illustr6e  d'un  portrait  et  de  25  reproductions 

d'oeuvres   de    Millet.       Paris,    Flammarion, 

1894.  6  fr. 

The  paintings  of  Jean  Francois  Millet,  valuable  in 
many  ways,  are  interesting  especially  in  that  they  por- 
tray the  French  peasantry  in  a  peculiarly  intimate  and 
sympathetic  way.  This  book  treats  the  subject  with 
thoroughness.  759.4 

Rossetti,  D.  G.     .V,v  Sharp.   W. ;  Stephens,   F. 
G.;  and  Wood,  E. 

Rude,   Francois.      See    Bertrand,    Alexis,    and 
Hamertun,  P.  G.,  under  "Modern  French- 


Ruskin,  John. 

Modern  Painters.    Illus.    Lend.,  Geo.  Allen, 

5  v.,  j^6  6s.      Index  in   i   v.,  separate,  14s. 

The  6  v.,  N.  Y..  Scribner.  $48. 

This  work,  of  which  the  final  volume  was  first  pub- 
lished in  i860,  contains  much  the  most  important  and 
the  safest  writing  upon  art  which  the  author  has  tiven 
us.  .Vll  Mr  Ruskin's  message  for  the  world,  so  far  as 
it  relates  to  fine  art,  is  to  be  found  in  these  volumes. 
It  may  even  be  said  that  the  more  mature  thinker  uiM-)n 
artistic  topics  should  jrive  time  to  the  careful  readme 
of  the  third  and  fourth  volumes,  as  he  will  find  nowhere 
else  the  moralist's  view  and  the  nature-lover's  view  of 
fine  art  so  well  e.xpressed. 

Mr  Ruskin's  wrilin;.;  on  fine  art  is  to  be  avoided  by 
beginners,  because,  comniencini;  his  critical  writinir  ai 
a  very  early  ape,  he  committed  himselt  to  a  false  theory 
of  fine  art,  and  then  abandoned  wriiintj  on  the  subject 
at  about  the  aye  of  forty,  when  he  would  naturally 
have  begun  to  correct  his  early  errors.  A  lofty  m()rality 
and  a  true  love  of  nature  are  to  be  found  m  his  writings 
of  the  years  1843-61,  but  hardly  a  sound  art-criticism. 

.•\  small  edition  of  Part  II..'"  Of  Ideas  of  Beauty,"  is 
ofifcred  in  two  volumes,  with  preface  by  Professor 
Charles  Eliot  Norton.  N.  Y.,  Maynard,  Merrill  &  Co., 
$3-  750 

PRE-R.vrHAELiTisM,  Lon^  .  5s.  Out  of  print. 
This  pamphlet  was  issued  in  1851,  and  was  intended 
to  plead  for  the  then  new  and  revolutionary  school  of 
artists,  and  to  point  out  the  essential  truth  to  nature  and 
the  moral  dignity  of  Pre-Raphaelite  painting.  Ruskin 
was  in  no  sense  the  founder,  as  is  often  st.'itfd,  or  even 
the  suggestor  of  the  Pre-Raphaelite  brotherhood,  but 
he  was  their  warmest  defender  in  published  criticism. 

750 

Giotto  and  1 1  is  Works  in  Padi'a  ;  with 
plates.  Lond..  Smith,  Elder  it  Co.  Out 
of  i>rint. 

Printed  in  1854  for  the  subscribers  to  the  Arundel 
Society  as  an  accotnpaniment  to  a  series  of  large  wood- 
cuts from  the  frescoes  in  the  .'Vrena  Chapel  ai  Padua. 
Photographs  of  these  frescoes  can  now  be  bought  at  a 
low  price.  The  text  itself  is  one  of  the  most  critical  of 
Mr.  Ruskin's  publications,  and  is  really  of  help  to  the 
right  understanding  of  the  frescoes,  and  through  them 
of  early  Italian  painting.  759  5 

The  Harijoi'RS  ok  Enclani).  Engraved  by 
Thomas  Lupton,  fnun  original  drawings 
made  expr».'ssly  for  the  work  by  J.  M.  W. 
Turner,  with  illustrative  text,  12  plates. 
Lond..  E.  Gambart  .V  Co,,  1S56.  N.  Y., 
Scribner,  S3. 

The  text  is  more  than  a  mere  description  of  each 
plate.  It  is  a  somewhat  full  exposition  of  Ruskin's 
view  on  landscape  painting.  The  plates  arc  of  very 
unusual  value,  mezzotints  of  great  beauty  and  faithful 
to  the  noble  originals.  740 

Elements  of  Drautno.     In  three  letters  to 

beginners.     Lond..  Geo.   Allen,    5s.     Also, 

with  preface  by  Prof.  Charles  Eliot  Norton. 

N.  Y..  .Maynard.  Merrill  &  Co.,  $1.50. 

First  published  in  1857,  and  somewhat  altered  in  the 

second  edition  ;   begins  with  an  attempt  to  take  the 

youth  wliii  has  never  held  pencil  or  pen  in  hand,  and 

give  him  the  first  lessons.     .After  seven  or  eight  lessons 

the  work  passes  into  general  advice  and  exhortation. 

It  can  all  be  read  with  great  interest  and  with  mi:ch 

profit :    it  must  be  remembered  that  there  is  always 

something  to  be  said  in  favor  of  the  system  of  drawing 

witii  minute  attention  to  detail  and  close  study  of  the 

minor  forms  of  nature,  although  that  is  not  the  system 

most  generally  in  use  among  artists  who  arc  teachers. 

Compare  C.  H.  Moorc*s  book  mentioned  in  this  list. 

740 

Aratra  Pentelici  :  Six  Lectures  on  the  Ele- 
ments of  Sculpture.  With  illustrations,  xii, 
207  p.  Lond.,  Geo.  Allen,  Keston,  1S72, 
7s.  6d.  Also,  with  preface  by  Charles  Eliot 
Norton,  illustrated  by  20  autotypes  and  one 
engraving,  N.  Y..  Mavnard,  Merrill  & 
Co..  $2.75. 

The  later  works  of  this  author,  such  as  the  present 
one,  dating  from  his  fifty-first  year,  sh»^»w  a  larger  sense 
of  the  artistic  side  of  art  and  of  tnv  need  in  art  of  some- 


34 


Pai/itifig  and  Sculpture. 


thing  more  than  faithful  study  of  nature  than  his  earlier 
work.  They  are  not  on  that  account  more  useful  to  the 
student.  That  more  critical  view  of  art  appears  only 
in  detached  sentences  and  the  general  tendency  is,  nn  >re 
strongly  than  ever,  towards  mysticism  and  a  poetical 
treatment  of  the  author's  conception  of  what  art  might 
be  but  never  yet  has  been.  730 

The  Relation  Between  Michael  Angelo 
AND  TlNTORET.     Lond.,  Geo.  Allen,  is. 

The  seventh  of  the  course  of  lectures  on  sculpture, 
of  which  six  are  included  in  "  Aratra  Pentelici."  First 
issued  in  1872.  759.5 

Ariadne  Florentina:  Six  Lectures  on  Wood 
and  Metal  Engraving.  lUus.  Lond.,  Geo. 
Allen.  1S76.  7s.  6d.  Also,  with  preface  by 
Prof.  Charles  Eliot  Norton.  N.  Y.,  May- 
nard,  Merrill  &  Co..  $2.75. 

The  reader  will  understand  that  this  is  not  a  guide 
to  the  collector  or  student  of  old  prints.  It  is  an  imagi- 
native appeal  in  favor  of  certain  supposed  meanings 
found  by  the  author  in  prints  which  he  loves.  It  is  a 
fascinating  pursuit  to  read  into  works  of  art  meanings 
■which  they  can  be  made  to  contain,  but  it  is  better  art 
criticism,  and  on  the  whole  more  instructive,  to  try 
hard  to  ascertain  what  was  the  artist's  meaning.  As 
regards  the  archaeological  study  of  the  art  of  engrav- 
ing, Mr.  Ruskm  has  never  given  thought  to  such  study, 
hence  his  statement  of  facts  is  generally  open  to  objec- 
tio-^  760 

Val  d'Arno  :  Ten  Lectures  on  the  Tuscan 
Art  directly  antecedent  to  the  Florentine 
Year  of  Victories.  With  12  plates.  Lond., 
Geo.  Allen,  1874,  230  p.,  7s.  6d.  Also, 
■with  preface  by  Prof.  Charles  Eliot  Norton. 
N.  Y.,  Maynard,  Merrill  &  Co.,  $2.75. 

759.5 

The  Laws  of  Fesole:  A  Familiar  Treatise 
on  the  Elementary  Principles  and 'Practice 
of  Drawing  and  Painting,  as  determined  by 
the  Tuscan  Masters.  Arranged  for  the  use 
of  schools.  With  plates  drawn  by  the  au- 
thor.    Lond.,  Geo.  Allen,  1S78,  Ss.         707 

MorninctS  in  Florence  :  Being  Simple  Stud- 
ies of  Christian  Art  for  English  Travellers. 
I.   Santa  Croce.    '2,  The  Golden  Gate,     3, 
Before  the  Soldan.     4,  The  Vaulted   Book. 
5,    The    Strait    Gate.       6,   The    Shepherd's 
Tower.     Lond.,  Geo.  Allen,  1S75.  4s. 
The  conviction  expressed  repeatedly  in  these  notes 
that  Ruskin  is  not  a  good  guide  for  beginners  in  the 
study  of  art,  requires  to  be  urged  with  especial  force  in 
the  matter  of  these  guide-books,  intended  for  the  use  of 
travellersinChurchesandGalleriesof  Europe.  Hisown 
and  others'  experience,  continued  through  many  sea- 
sons, would  alone  serve  to  convince  the  present  writer 
that  the  untrained  student  in  ancient  art  is  seriously 
misled  and  his  time  wasted  when  any  attempt  is  made 
to  visit  and  study  paintings  with  these  books  in  hand. 
After  one  has  become  familiar  with  the  pictures,  these 
books  may  be  useful  as  suggesting  an  ideal  of  art  which 
is  certainly  not  the  artists  view,  but  may  still  be  de- 
fended by  those  who  seek  in  pictures  something  which 
is  not  their  pictorial  quality.     Compare  what  is  said  of 
the  Supplement  of  "St.  Mark's  Rest"  below.  704 

St.  Mark's  Rest  :  The  History  of  Venice, 
written  for  the  help  of  the  few  travellers 
who  still  care  for  her  monuments.  Two 
parts  and  a  "first"  supplement.  Lond., 
Geo.  Allen,  1S77,  5s. 

The  remarks  on  the  Carnaccio  pictures  in  the  little 
Church  of  S.  Giorgio  dei  Schiavoni  offer  the  best  in- 
stance possible  of  a  minute  examination  into  the  sup- 
posed esoteric  meaning  of  a  painting  without  reference 
to  its  artistic  qualities.  The  artistic  merit  of  the  Car- 
paccio  pictures  is  never  exceedingly  high :  for  an  artist 
of  his  time  he  is  not  a  great  master  and  these  pictures 
are  by  no  means  specimens  of  his  best  work.  The  pict- 
ures of  the  history  of  St.  Ursula  in  the  Academy  are 
probably  superior  as  works  ot  art,  but  these  and  the  S. 
Giorgio  pictures  alike,  are  to  be  looked  upon  as  illus- 
trations on  a  large  scale  rather  than  works  of  art  in  a 
high  sense.    The  student  would  be  greatly  misled  who 


caught  Mr.   Ruskin's  enthusiasm  and   who  accepted 
these  pictures  as  in  some  way  models  of  fine  painting. 

945.3 

Guide  to  the  Principal  Pictures  in  the 
Ac.\demy  of  Fine  Arts  at  Venice.  Lond.. 
Allen,  IS.  708.5 

Studies  in  Both  Arts  :  Heing  Ten  Subjects 
Drawn  and  Described.  Lond.,  Geo.  Allen. 
N.  Y.,  Scribner,  I8.50. 

The  value  of  this  book  lies  in  the  reproductions  of 
ten  elaborate  drawings  by  Ruskin.  It  may  be  safely 
assumed  that  the  colored  plates  preserve  much  of  the 
quality  of  the  originals,  as  indeed  the  preface  written 
by  an  assistant  of  the  author  expressly  states.  The 
plates  m  one  color  are  not  difficult  to  make  entirely 
trustworthy  by  means  of  modern  processes.  The  text, 
consisting  of  detached  passages  and  bits  of  description, 
cannot  be  said  to  have  any  independent  value.  The 
cover  announced  as  from  a  design  by  Rurne-Jones,  is  a 
curious  instance  of  ornament  completely  misapplied 
and  ineffective.  707 

Saunier,  Charles. 

AuGusTiN  DupRE,  Orfevre,  Medailleur  et 

GRAVEUR  gene:ral  des  Monnaies.      Paris. 

Society  de   Propagation   des   Livres   d'Art, 

iSg4.     No  price  published. 

An  excellent  monograph  on  the  work  of  an  artist, 
not  indeed  of  the  first  rank,  but  important  in  his  line. 
The  book  is  included  in  this  list  because  this  art  of  die- 
sinking,  although  a  singularly  important  branch  of 
sculpture  and  highly  developed  in  modern  France,  is 
little  regarded  in  the  English-speaking  world.  The 
book  in  question  is  inexpensive  and  easy  of  access  and 
contains  very  good  illustrations,  photographic  and 
other.  736 

Scott,  Leader. 

Sculpture,      Renaissance     and      Modern. 

(Art  Handbook   Series.)     N.   Y.,  Scribner, 

$2. 

A  good  cyclopaedic  account:  many  names  of  sculp- 
tors and  their  works,  and  much  brief  analysis  of  their 
work  are  given  ;  the  material  is  well  arranged  and  the 
book  is  very  readable  in  spite  of  its  compactness. 
Many  remarks  on  outlying  subjects  are  questionable, 
as  when  the  Moors  are  called  "  finest  architects,"  and 
where  Delia  Robbia  work  is  denied  the  name  of  sculpt- 
ure, and  where  Vischer's  shrine  at  Nuremberg  is  called 
"  late  Gothic,  almost  Romanesque."  In  short,  this,  bke 
most  of  these  hastily  written  English  books,  is  in  a 
general  way  trustworthy,  but  rather  as  a  compilation 
than  as  a  book  by  a  competent  critic.  735 

Fra    Bartolommeo  :    Andrea    Del    Sarto. 

(G.A.S.)      Lond..    1S7.).      N.   Y.,   Scribner. 

$1.25. 

A  sympathetic  and  careful  biographical  study  of  two 
painters  ;  admirable  artists,  though  oi  the  second  rank. 
Other  painters  with  whom  these  two  were  associated, 
each  in  his  turn,  are  mentioned,  and  their  relations  to 
the  chief  subjects  cleverly  pointed  out.  The  whole 
forms  an  interesting  and  valuable  chapter  01  the  history 
of  the  Renaissance,  or  rather  two  chapters,  one  dealing 
with  the  later  years  of  the  XV.  century  and  the  other 
with  the  earlier  years  of  the  XVL  759.5 

Scott,  William  Bell. 

Pictures  by  V^enetian  Painters.  Lend., 
Routledge,  1875.     Out  of  print.  759.5 

Pictures  by  Italian  Masters.    Lond..  Rout- 
ledge.  1S76.     Out  of  print. 
See  what  is  said  of  this  author  under  other  titles. 
Except  for  certain  oddities  of  appreciation,  Scott  was  a 
good  critic  of  painting  as  well  as  of  the  decorative  arts. 

759.5 

Albert  Durer  :  His  Life  and  Works;  Au- 
tobiographical Papers  and  Complete  Cata- 
logue. Lend.,  Longmans,  1869.  Out  of 
print. 

The  account  of  the  life  and  works  of  Diirei  occupies 
only  193  small  pages  of  targe  print.  It  is  a  vigorous 
and  sympathetic  biography  of  a  great  artist,  who  was 
also  a  worthy  man  and  who  lived  a  som^vhat  eventful 


Painting  and  Sculpture. 


35 


life.  It  includes  lonp  extracts  from  the  journal  which 
Diirer  kept  during  his  journey  to  the  Netherlands  ;  125 
pages  are  occupied  with  catalogues  of  his  paintings, 
drawings,  and  engravings  on  copper  and  on  wood. 
For  the  general  reader,  not  specially  occupied  with 
German  art  or  with  print  collecting,  this  is  the  best  life 
of  DUrer.  700 

The  Little  Masters.  (G.A.S.)  Lond..  Low. 
1879.  3s.  6d.     N.  Y.,  Scribner.  $1.25. 

See  what  is  said  of  this  writer  under  his  "  Life  of 
Albert  Diirer,"  and  elsewhere  in  this  list.  The  sym- 
pathy he  feels  for  the  greater  artists  he  shows  for  the 
minor  ones  as  well. 

The  "Little  Masters"  are  so  called  partly  because 
of  the  very  small  scale  on  which  they  worked,  producing 
little  prints  two  or  three  inches  in  either  dimension. 
They  are  Altdnrfer,  H.  S,  Beham,  Barthel  Beham,  Al- 
degrever,  Pencz,  Binck,  and  Brosamer,  Of  these  Bar- 
thel  Beham  is  the  author  of  that  astonishing  print,  tlie 
portrait  of  the  Emperor  Charles  V.,  probably  the  finest 
line  engraving  in  the  world  {compare  Haden's  "Notes 
on  Etching  '^)  and  of  the  almost  equally  fine  portrait  of 
Ferdinand,  King  of  the  Romans,  these  are  compositions 
of  less  unusual  dimensions;  but  in  general  the  works 
of  this  master  also  are  very  small  indeed  In  like  manner 
Aldegrever  produced  several  large  prints,  one  of  them, 
the  portrait  of  John  of  Leyden,  an  astonishing  master- 
piece, is  reproduced  in  this  book.  760 

Sensier,  Alfred. 

La  Vie  et  L'tEuvRE  de  J.  F.  Millet.     Paris, 

Quantin,  18S1,  50  fr. 

Sensier  was  a  friend  of  Millet's;  after  the  death  of 
both  the  friends,  Sensier's  manuscript  was  published 
by  Paul  Mantz.  A  good  part  of  the  text  of  this  book 
has  been  published  in  English  by  The  Macmillan  Co  , 
for  which  the  reader  is  referred  to  the  book  named  under 
Cartvvright.  The  original  work,  however,  must  always 
be  of  especial  interest  to  lovers  of  the  refined  and  essen 
tially  sympathetic  art  of  Millet.  The  volume  is  a  per- 
fect picture  gallery  of  his  work,  as  it  contains  twelve 
large  plates  and  fifty  minor  illustrations,  all  oi  excellent 
quality.  759.4 

Sharp,  William. 

Dante   Gahriel   Rossetti  ■    a   Record   and   a 

Study.      N.   Y..    Macmillan.    1882.     Out  of 

print. 

The  most  nearly  satisfactory  life  of  the  poet  and 
painter;  contains  also  the  best  general  account  of  the 
pre-Raphaelite  movement  Compare  the  book  by  Esther 
Wood  and  the  Portfolio  Monograph  by  F.  G.  Stephens. 

759.2 
Shedd,  Julia  A. 

Famous  Painters  and  Paintings.     4th  ed., 

revised  and    enlarged.      Bost.,    Houghton, 

I  St/),  ^2. 

Purports  only  to  be  a  series  of  brief  biographical 
sketches  of  about  200  paintersof  all  epochs,  from  Giotto 
to  Ingres,  but  it  will  be  found  to  contain  very  sensible 
discussion  ol  the  merits  and  peculiarities  of  these  men 
and  the  circumstances  of  their  times.  A  popular  book, 
but  a  good  one.  759 

Famous  Sculptors  and  Sculpture.  New 
ed..  revised  and  enlarged.  lllus.  Best., 
Houghton,  iSq6,$2. 

See  what  is  said  of  this  author's  work  on  "  Painters 
and  Painting."  The  present  work  is  a  companion  vol- 
ume. 730 

Signorelli,  Luca.     Sa^  Vischer,  L. 

Smith,  F.  Hopkinson. 

American  Illustrators.  lllus..  in  5  parts. 
N.  Y.,  Scribner,  1892.  $15. 

Contains  colored  as  well  as  black  and  white  pictures, 
most  of  them  of  merit.  The  illustrators  whose  work  is 
treated  of  are  twenty  or  more  in  number,  including 
E.  A,  Abbey,  Howard  Pyle,  A.  B.  Frost,  Fred.  Rem- 
ington, Will  H.  Low,  Winslow  Homer,  Kenyon  Cox, 
Elihu  Vedder,  and  the  author  himself.  Mr.  Elbndge 
Kingsley,  the  wood-engraver,  is  also  represented  by  a 
print  from  a  block  engraved  direct  from  nature  Those 
who  have  not  loltowed  the  development  of  American 
book-iliustration  may  be  surprised  at  the  amount  and 
variety  of  the  work  recorded  here.  Compare  what  is 
said  under  Monn's  "French  Illustrators."        655.53 


Spielman,  M.  H. 

IIisioRv  OF  Puuc/i.  Lond..  Cassell,  1805. 
if.s. 

The  iournal.  Punch,  now  in  its  fifty-sixth  year  of 
publication,  contains  the  larger  part  of  the  work  of 
several  great  artists  in  black  and  white,  and  of  several 
mintir  (mcs,  who  are  also  admirable  designers.  Tht-y 
include  Charles  Kecne,  one  of  the  most  original  artists 
of  the  century  ;  John  I. each,  the  possessor  of  great  and 
very  unusual  gifts;  I.indley  Sambuurne.  a  draughts- 
man who  has  developed  by  himself  a  wholly  uniuue 
system  of  pen  drawing,  and  whose  powers  of  grotcwpie 
and  allusive  designs  are  unmatched  ;  Du  Maurier,  the 
well-known  portrayer  of  rertned  society  and  its  gro- 
tesque side;  Richard  Doyle,  the  greatest  caricaturist 
there  ever  was  who  could  not  draw  the  figure,  as  this 
writer  has  said  elsewhere.  This  book  treats  these 
artists  and  their  work  in  a  very  judicious  and  critical 
manner  ;  while  it  has  too  much  praise  for  the  compara- 
tively unimportant  work  of  Sir  John  Tenniel,  and  can- 
not, of  course,  be  expected  to  do  justice  to  the  few  total 
failures  among  l^unclt's  artists,  yet  the  pages  from  409 
to  558  may  be  taken  together  as  an  admirable  and  most 
suggestive  treatise  on  the  illustrative  art  in  black  and 
white  of  the  last  fifty  years  in  England.  741 

Posters,  and  Poster  Designing  in  Eng- 
land, in  "The  Modern  Poster."  N.  Y.. 
Scribner.  1895. 

The  attempts  in  England  to  make  posters  artistic 
date  back  nearly  thirty  years,  although  they  v;ere  not 
followed  up  very  steadily.  The  present  tendency  is 
rather  towards  the  Parisian  style,  although  the  one  by 
"  Weirdsley  Daubrey,"  as  well  as  those  it  imitates,  cou'd 
only  have  been  produced  in  England.  The  illustra- 
tions, like  those  of  the  other  three  articles  in  this  book, 
are  of  great  interest  and  beauty.  740 

Stendhal,  De  (Henri  Beyle). 

Histoirk  r>E  LA  Peinture  en  Italie.  Paris. 
Levy  fr^res,  1S53.  3  fr. 

An  account  of  Italian  painting  from  the  standpoint 
of  a  sagacious  and  enlightened  siudent  of  the  early  part 
of  the  century.  The  works  of  Rio,  Lanzi,  and  Lord 
Lindsay  are  to  be  compared  with  this;  although  De 
Stendhal  does  not  undertake  the  same  minute  examina- 
tion into  individual  works  of  art,  his  study  of  painting 
IS  not  the  less  useful.  759.5 

Stephens,  F.  G. 

Dante  Gabriel  Rossetti.  Portfolio  Mono- 
graph, May.  1S94.  Lond.,  Seeley  A:  Co. 
N.  Y..  Macmillan,  75  c. 

Perhaps  the  most  adequate  treatise  on  the  artist  and 
poet  which  exists.  It  is  certainly  the  most  richly  illus- 
trated, and  the  illustrations  are  expressive  of  Rossetti's 
qualities  as  a  painter  beyond  what  could  be  expected 
in  such  a  case.  It  appears,  too,  that  there  has  been  re- 
markable success  in  bringing  together  types  of  the  dif- 
ferent styles  of  Rossetti's  painting  and  drawing. 

759.2 

Stevens,  Alfred.     Sti.-  Armstrong,  \V. 

Stevenson,  R.  A.  M. 
The  Art  of  Velasqitez.     lllus,     Lond.,  Geo. 
Bell  &  Sons.     N.  Y.,  Macmillan.  1S95.  $iS. 

A  small  book  made  large  by  large  type  and  broad 
margins.  It  is  a  treatise  on  the  painter's  art  from  the 
point  of  view  of  one  who  thoroughly  understands  how 
abstract  a  thing  that  art  is,  how  much  a  matter  of  con- 
vention, and  how  completely  the  painter  speaks  a  lan- 
guage which  is  not  that  of  literature.  Velasquez  is 
taken  as  the  great  type  of  all  true  painters.  This  valu- 
able essay  might  be  and  should  be  published  also  in  a 
small,  inexpensive  volume,  but  such  a  volume  could  not 
contain  the  20  fine  photogravures  nor  the  43  tull-page 
half-tone  illustrations  which  make  this  a  museum  ot 
Velasquez's  works.  760  6 

Stranahan,  Mrs,  C.  H. 

History  of  French  Painting  from  Its 
Earliest  to  I  rs  Latesi-  Practice,  includ- 
ing an  account  of  the  French  Academy  and 
its  Schools  of  Instruction,  lllus.  N.  Y., 
Scribner,  $3.50. 
As  the  French  schools  of  painting  have  been  for  a 

century  and  a  half  the  most  important  body  ot  graphic 


36 


Painting  and  Sculpti4re, 


art  in  Europe,  steadily  growing  in  an  orderly  sequence, 
this  book,  which  relates  the  external  history  of  this 
^owth  and  appreciates  and  qualifies  it  very  justly,  is 
important  to  all  students.  There  are  errors,  but  the 
work  IS  surprisingly  accurate  in  the  main,  and  is  full 
in  detail.  It  includes  a  careful  history  of  the  French 
Government's  influence  and  control  of  the  Fine  Arts. 
See  also  "  Meissonier  and  the  Salon  Julien  "  in  George 
Moore's  "  Impressions  and  Opinions  "  in  this  list. 

759.4 

Stuart,  Gilbert.     See  Mason,  G.  C. 

Sturgisj  Russell. 

Articles  in  Johnson's  Universal  Cyclo- 
p.^DiA.     Etl.  1S93-5. 

Chiaroscuro  —  Drawing  —  Engraving  —  Illustra- 
tion —  Impressionism  —  Lithography  —  Painting  — 
Sculpture  — Wood-Carving — Wood-Engraving. 

See  also  some  of  the  biographies  of  artists  in  the 
same  Cyclopaedia. 

See  also  Part  I.  of  this  list. 

Sweetser,  M.  F. 

Artist  Biographies.  New  ed.,  with  illus. 
Bost..  Houghton,  l8g6,  7  v.,  $8.75.  Sold 
only  in  sets. 

Lives  of  Raphael,  Leonardo,  Angelo,  Titian,  Claude, 
Reynolds,  Turner,  Landseer,  Dlirer,  Rembrandt,  Van 
Dyck,  Angelico,  \IuriIlo,  and  Alston.  Rather  popular 
in  treatment.  The  latest  information  seems  to  have 
been  used  in  preparing  these  biographies.  700 

Thausing,  Moritz. 

DOrer  Geschichte  seines  Lebens  und  seiner 
KuNST.  Leipzig,  E.  A.  Seeman,  1876,  30 
marks. 

Probably  the  standard  work  on  Albert  Durer,  and 
should  be  translated  into  English.  The  illustrations 
are  valuable  but  not  very  numerous.  II  would  be  easy 
to  make  an  English  edition  much  fuller  in  this  respect. 
Compare  the  work  by  W.  B.  Scott.  700 

Thirion,  H. 

Les    Adam    et    Clodion.       Paris,    Quantiii. 

18S5,  50  fr. 

Devoted  to  artists  of  the  XVIII.  century  who  are 
little  known  outside  of  France,  except  as  a  few  terra- 
cotta groups  are  shown  in  collections,  or  in  sales,  under 
the  name  of  Clodion.  The  fine  art  of  this  late  period, 
commonly  spoken  of  as  Art  of  the  Decline,  or  as  Ro- 
coco, or  Baroque,  is  commonly  disregarded  as  lack- 
ing in  purpose  and  even  in  good  taste.  The  student  of 
art  must  learn  to  disregard  these  common  ascriptions 
and  find  out  for  himself  what  good  there  is  in  art  not 
generally  esteemed.  The  illustrations  are  numerous, 
and  are  almost  enough  in  themselves  to  supply  the  in- 
formation needed.  735 

Thomson,  D.  C. 

CoRoT.  The  Barbizon  School  of  Painters. 
With  50  illus.     Lond.,  Simpkin,  1892,  15s. 

Chiefly  valuable  for  its  illustrations.  Corot's  work 
when  given  without  color  is,  of  course,  representative 
of  only  a  part  of  his  peculiar  genius.  Photographs 
from  nis  paintings  are,  however,  valuable,  much  as  his 
own  etchings  are.  They  represent  better,  perhaps, 
than  any  other  portable  and  easily  accessible  pictures, 
the  modern  school  of  painting  which  nearly  ignores 
subject  in  the  sense  of  portraits  of  particular  scenes — 
the  ichcol  which  has  led  into  Impressionism. 

759.4 
Thornbury,  Walter. 

Life  of  J.   M.   W.    Turner.      N.    Y.,   Holt. 

1S77,  $2. 

Needed  in  connection  with  Hamerton's  more  sym- 
pathetic and  critical  life,  because  of  its  tabular  refer- 
ence to  the  work  of  the  artist,  759.2 

Tintoretto.     See  Osier,  W.  R. 

Titian,     ^.v  Sweetser,  M.  F. 

Turner,  J.  M.  W.     Sec  Hamerton.  P.  G. ;  Sweet- 
ser, M.  F. ;  and  Thornbury,  W. 


Upcott,  L.  E. 

Introduction  to  Greek  Sculpture.     N.  Y., 
Macmillan,  1887.  $1.10. 

One  of  several  books  which  have  been  published  as 
companions  to  a  small  museum  of  casts,  or  a  collection 
of  photographs.  Valuable  in  itself  as  a  rather  full  ac- 
count of  a  few  important  sculptures,  pictures  of  which 
occur  in  many  books.  If  it  were  desired  to  get  a  few 
casts  or  photographs,  they  might  well  be  purchased  ac- 
cording to  the  list  given,  p.  9-12.  733 

Vachonj  Marius. 

Jacques  Callot,     (L.A.C.)     Paris,   Librairie 
de  TArt.  1SS6.  6  fr. 

Callot  was  an  etcher  and  engraver  of  the  early  years 
of  the  XVII.  century  ;  his  work,  though  by  no  means 
of  the  highest  rank,  should  yet  be  studied  by  every  one 
interested  in  art  which  speaks  strongly  of  its  epoch. 
Nothing  can  exceed  the  frankness  and  uncompromising 
truth  of  the  artist's  intentions  ;  he  is  absolutely  fearless 
and  unreserved  whether  he  is  describing  a  scene  of  war- 
like violence  and  outrage,  or  a  peaceful  scene  in  old 
Pans,  or  is  engaged  in  representing  'he  costumes  ot  his 
time.     Illustrations  well  reproduced  from  the  originals. 

760 


Van  Dyck,  A.     See  Guiffrey,  J. 
f//;(/ Sweetser,  M.  F 


Michiels,  A.; 


Van  Dyke,  John  C. 

Art  for  Art's  Sake.  Seven  University  Lect- 
ures on  the  Technical  Beauties  of  Painting. 
Illus.     N.  Y.,  Scribner,  Si. 50. 

Of  much  value,  because  it  explains  in  very  simple 
language  and  in  detail  how  a  painter  conceives  a  pict- 
ure and  goss  to  work  at  it,  and  how  he  looks  at  the 
pictures  which  he  and  other  artists  have  produced. 
Should  be  read  with  "are  as  if  a  text-book  of  the 
painter's  trade.  750 

H«)\v  to  Judge  a  Picture:  Familiar  Talks 

in   the    Gallery    with    Uncritical    Lovers  of 

Art.     N.  Y.,  Hunt  ^S:  Mains,  60  c. 

A  manual  containing  useful  hints,  but  nothing  that 

IS  not  better  given  in  "  Art  for  Art's  Sake."     Its  general 

tendency  is  to  be  approved.  750 

History  of  Painting.  N.  Y.,  Longmans, 
iSgs,  I1.50. 

One  of  a  series  of  three  volumes  (see  Hamlin,  and 
Marquand  and  Frothingham).  This  work  covers  the 
range  of  European  art  and  what  preceded  it,  from  Per- 
sian enamel,  tile,  and  Egvplian  wall  painting,  to  the 
American  work  of  to-day.  tach  chapter  is  preceded  by 
a  bibliography  concerning  the  period,  followed  by  a 
list  of  the  important  works  of  art  of  the  same  period. 
The  general  bibliography  before  the  Introduction  is  in- 
complete, and  contains  some  works  which  are  not  trust- 
worthy. 750 

Velasquez.  See  Armstrong,  W. ;  Justi,  K.; 
Lefort,  P.;  Michel,  Emil;  and  Stevenson, 
R.  A.  M. 

Vernet,  Horace.     See  Rees,  J.  Ruutz. 

Veron,  Eugene. 

EuGf:NE  Delacroix.  (L.A.C.)  Paris,  Li- 
brairie de  I'Art,  1SS7.  S  fr. 

Eugene  Delacroix  was  the  celebrated  leader  of  the  so- 
called  romantic  movement  in  France  under  Louis  Phi- 
lippe. For  men  of  our  time  his  fame  depends  chiefly 
upon  his  work  as  a  colorist ;  it  cannot  be  said  that  his 
gift  in  this  way  is  adequately  treated  in  the  book  before 
us.  That,  however,  is  a  most  difficult  and  unusual 
thing  to  tind  in  any  art  criticism.  This  book  gives  a 
good  biography  of  the  man  and  description  of  his  wnrk, 
with  many  useful  illustrations.  759.4 

VioUet-le-Duc,  E.  E. 

HisTOiRE    ii'UN     Dessinateur.       Transl.    as 
Lk.vrning  to  Draw  ;  or.  The  Story  of  a 
Y(tUNG  Designer.     N.  Y.,  Putnam.  $2. 
Under  the  form  of  a  biography  of  a  young  man  of 

natural  good  ability  as  a  draughtsman  and  designer. 


Painting  and  Sculpture. 


37 


but  not  of  great  t'enius,  tlio  riKlit  way  of  studyinp  art 
practically  is  considered,  and  anuch  wise  suggestive  ad- 
vice given.  740 

Vischer,  L. 

Ll'CA  SiGNORELLI  UND  DIE  ItaI.IANISCHF.  RE- 
NAISSANCE. Leipsic,  Veit  &  Comp,  1S79,  10 
marks. 

The  part  of  Luca  Signorelli  in  the  Italian  Renais- 
sance is  inadequately  slated  in  most  works  on  the  sub- 
ject ;  on  that  account  this  book  is  peculiarly  important 
to  students.  If,  however,  the  large  work  of  MUntz  is 
at  hand  this  special  work  is  not  so  indispensable 

759.5 

Vosmaer,  O. 

RfMBRANDT,     SA      VlF.     ET     SES     CEUVRES.        L.l 

Have,  Martinus  Nyhoff,  1S77,  10  florins. 

The  first  work  in  which  Rembrandt  was  given  a  per- 
sonality which  could  be  understoifd.  Mr.  Vosmaer  had 
made  fruitful  researches  which  resulted  in  identifying 
Rembrandt  with  his  native  city,  and  with  recording 
the  chief  events  of  his  life  in  a  way  not  before  possible. 
Much  of  this  narrative  is  valuable  to  the  student  as 
showing  how  Rembrandt  was  regarded  during  his  life 
and  his  position  in  relation  to  his  contemporaries. 

See  Mollelt,  J.  W.,  for  a  small  book  based  upon  this. 

759.9 

Waldstein,  Charles. 

Cataloui'e  of  Casts  in  the  Museum  of  Clas- 
sical Archeology  of  the  Fitzwilliam  Mu- 
seum, Cambridge,  England.  Lond.,  Mac- 
millan,  iS3g,  is.  6d. 

A  smaller  book  of  the  same  general  character  as  that 
of  Mr.  Upcott.  It  would  be  useful  in  connection  with 
that,  or  without  it.  730 

Walker,  Frederick.     Sc<:  Phillips,  C. 

Watteau,  Antoine.     See  Phillips,  C. 

Wauters,  A.  J. 

Peinture  Flamande.  (B.E.B.A.)  Paris, 
Quantin,  5  fr.  Transl.  by  Mrs.  H.  Rossel 
as  The  Flemish  School  of  Painti.ng. 
N.  Y.,  Cassell,  1885,  $2. 

The  English  translation  is  out  of  print.  Like  all  the 
books  of  this  series,  the  French  original  is  valuable. 

759.9 

Wedmore,  Frederick. 

Etching  in  England;  with  50  illus.  Lond., 
Geo.  Bell  &  Sons.  N.  Y.,  Macmillan,  1895, 
$3.50. 

Treats  the  art  of  etching  as  it  haft  existed  in  England 
during  the  present  century,  in  brief  notices  of  its  differ- 
ent masters,  such  as  Turner.  Wilkie  Geddes,  Palmer, 
Haden,  Whistler,  Legros,  and  others.  The  reproduc- 
tions are  not  all  of  equal  excellence,  and  some  are  de- 
fective.    Useful  for  reference.  767 

Willard,  Ashton  R. 

Sketch  of  the  Life  and  Work  of  the 
Painter  Domexico  Morelli.  Best. .Hough- 
ton, iSgs,  Si. 25. 

Valuable  as  a  monograph  on  an  artist  little  known 
in  America  and  as  a  contribution  to  the  history  of  the 
contemporary  art  of  Italy.  Even  if  Morelli  is  not  so 
important  a  painter  as  the  author  of  this  book  takes 
hira  to  be.  this  would  be  a  valuable  treatise  and  one 
full  of  instruction  as  to  modern  art.  There  are  eight 
fhctographic  illustrations  from  MoreiU's  works. 

759.5 


Willshire,  William  Hughes. 

Introdi'ction  to  the  Sti'dy  and  Coi.i.ec- 
noN  OF  Ancient  Prints.  Lend.,  Ellis  & 
White,  1S77,  2  V.     Out  of  print. 

There  arc  curious  omissions  from  this  work,  but  11  13 
in  spite  of  them  the  best  book  there  is  for  the  beginner 
in  the  study  or  purchase  of  old  prints.  It  is  not  ol  un- 
reasonable cost.  76l> 


Wilson,  C.  Heath. 

Article    Fresco, 
gth  cd. 


Encyclopjedia     Britannica, 


Woltmann,  Alfred,  and  Woermann,  Karl. 

History  of  Painting.  Vol.  I.,  Ancient. 
Early  Christian,  and  Mediaeval  Paintings  ; 
edited  by  Sidney  Colvin.  N.  Y.,  Dodd, 
Mead  c<t  Co.  With  Vol.  H.,  $20  ;  Students' 
Edition,  S7.50. 

The  first  part  of  a  general  history  of  painting,  the 
best  at  present  accessible  in  English.  It  has  been 
condensed  from  the  German  original :  there  are  many 
illustrations,  and  the  book  is  certainly  useful,  how- 
ever much  it  lacks  in  picturesqueness  01  narrative  and 
originality  of  insight.  759 

Vol.  IL,  The  Painting  of  the  Renascence. 
Transl.  bv  Clara  Bell.  N.  Y.,  Dodd,  Mead 
&  Co.  With  Vol.  L,  $20;  Students'  Edi- 
tion, S7.50. 

The  second  part  of  the  work  named  last  above.  This 
volume  contains  a  great  many  illustrations,  not  of  great 
excellence  or  beauty  in  themselves,  but  of  well-chosen 
subjects  and  useful  for  reference.  It  is,  perhaps,  the 
best  history  of  Renaissance  painting  in  the  English 
language.  There  is  an  index  to  this  and  the  preceding 
parts,  but  this  is  not  sufticiently  complete  to  make  their 
contents  easily  accessible.  759 

Wood,  Esther. 

Dante  Rossetti,  and  the  Pre-Raphaelite 
Movement.  Illus.  N.  Y.,  Scribner,  1894, 
$3. 

An  account  of  pre-Raphaelitism,  "  more  as  an  etliical 
than  an  aesthetic  revolulion."  as  the  preface  states. 
There  are  eight  photographic  illustrations  on  a  small 
scale,  but  important.  Compare  what  is  said  of  Sharp's 
'Life  of  Rossetti"  and  Stephen's  "Portfolio  Mono- 
graph." 759.2 

Wood,  H.  Trueman. 

Modern  Methods  of  Illustrating  Books. 
N.  Y.,  A.  C.  Armstrong  &  Son,  1887,  §1.25. 

A  handbook  of  the  many  photographic  and  other 
processes  lately  introduced.  Compare  the  "  Illustra- 
tion of  Books"  by  Mr.  Penocll.  655.53 

Yriarte,  Charles. 

Pall  V^ronj^se.  (L.-A.C.)  Paris,  Librairie 
de  I'Art,  1888,  fr.  6.50. 

While  wailing  for  an  adequate  book  on  this  giant  of 
painting  the  present  little  monograph  will  ser^•e  our 
turn  very  well.  The  author  is  well  known  for  his  large 
monographs  on  Rimini.  Florence,  and  Venice,  and 
other  books  on  artistic  subjects.  This  book  contains  a 
great  many  illustrations,  some  of  them  useful  outlines- 
of  the  large  compositions  ol  Vt'ronisc.  759.5- 


PART    III. 


ARCHITECTURE   AND    LANDSCAPE   GARDENING. 


PRELIMINARY    NOTE. 

Although  Architecture  is  a  Decorative  Art, 
•and  should  logically  be  put  under  that  head 
•(see  Prefatory  jVote),  it  is  more  convenient  to 
treat  it  separately,  especially  because  of  the 
enormous  number  and  importance  of  the  books 
in  many  languages  which  are  devoted  to  archi- 
tecture alone.  Of  these  books  but  a  small 
number  are  in  English,  either  in  their  original 
form  or  in  translation  ;  and  of  the  books  which 
are  in  English  only  a  very  few,  and  those  not 
often  valuable,  are  of  moderate  cost. 

The  Fine  Art  of  Architecture  has  a  curious 
history.  From  the  earliest  historical  times  to 
the  XV.  century  there  was  a  general  tendency 
for  styles  to  develop  naturally  and  spontaneously 
one  out  of  another.  One  style  would  perhaps 
disappear  in  a  time  of  conquest  and  in  the 
ruin  of  the  civilization  which  had  created  it ; 
then  the  conquerors,  perhaps  after  a  long  time 
of  little  artistic  production,  would  evolve  a  new 
style.  Occasional  attempts  were  made  to  re- 
vive a  style  of  former  times,  but  these  were 
never  of  much  importance.  In  the  XV.  cen- 
tury, however,  a  deliberate  attempt  was  made 
in  Italy  to  return  to  the  style  of  the  Roman 
Empire  ;  that  is,  to  the  system  of  architectural 
decoration  seen  in  the  ruined  buildings  of  about 
the  years  5010  350  A. D..  found  in  Italy  and  in 
other  countries  on  the  Mediterranean.  This 
was  caused  less  by  admiration  of  the  beauty 
of  those  structures  than  by  reverence  for  the 
mighty  traditions  of  the  Roman  Empire,  and 
by  the  revival  of  classical  learning  which  was 
going  on  at  the  same  time.  All  this  is  to  be 
studied  in  treatises  upon  the  Renaissance.  The 
style   of  architecture   so  created   by   deliberate 


effort  was  at  first  in  the  hands  of  most  able 
artists,  accomplished  sculptors  and  painters, 
and  it  had  a  fresh  and  original  beauty  of  its  own. 
Soon,  however,  it  grew  to  be  a  more  nearly 
exact  copying  of  the  ancient  structures.  In  dif- 
ferent forms  this  artificial  style  went  on  develop- 
ing itself  through  the  XVI.,  XVII.,  and  XVIII. 
centuries.  During  all  these  years,  as  in  previous 
times  of  more  natural  styles  of  architecture,  no 
man  would  build  in  any  other  style  than  the  one 
accepted  ;  but  since  the  French  Revolution  all 
has  been  chaos. 

The  books  and  articles  on  Archreology  are 
apt  to  contain  much  information  about  archi- 
tecture, but  it  is  to  be  observed  that  their  writers 
have  generally  no  experience  either  in  building 
or  in  designing  buildings. 

Architecture  is  so  complex  an  art  that  positive 
and  peremptory  opinions  about  it  should  be 
mistrusted,  from  whatever  source  they  come. 
Nearly  all  great  excellences  in  the  art  bring 
their  errors  and  faults  with  them  ;  more  than 
the  fine  arts  proper,  architecture  is  a  series  of 
compromises,  and  t/u'  best  has  to  be  given  up 
very  often  for  the  second  best. 

The  attention  of  students  is  called  to  the  Avery 
Architectural  Library  at  Columbia  University. 
New  York.  Mr.  Samuel  P.  Avery  and  his  wife 
have  founded  this  library  as  a  memorial  to  their 
son,  Henry  O.  Avery,  an  architect,  who  died  in 
1S90.  More  than  fifty  thousand  dollars  have 
already  been  given  to  this  foundation,  expended 
in  books  and  periodicals  on  architecture  and 
decorative  art.  The  choice  of  books  has  been 
careful.  The  library  is  accessible  to  all  persons, 
both  by  day  and  in  the  evening,  except  on  Sun- 
days.    For  catalogue  see  under  Avery. 


Academy  Architecture:  An  Annual  Architect- 
ural Review,  published  by  "Academy  Ar- 
chitecture." Lond.,  1SS9  and  subsequent 
years.     N.  Y.,  Scribner,  §2  each. 

Each  annual  issue  of  this  book  forms  a  small  quarto, 
Dublished  at  a  low  price  and  containing  half-tone  and 
iine-cut  pictures  of  architectural  drawings  shown  in  the 
annual  exhibitions  of  London,  Edinburgh,  and  Glas- 
gow ;  together  with  plates  of  buildings  and  details 
Avhich  have  been  actually  carried  out.  It  is  not  to  be 
supposed  that  all  or  half  of  the  designs  here  given  are 
really  meritorious,  but  the  selection  is  remarkably  good, 
and  any  library  may  be  the  better  for  such  an  annual 
gathering  of  the  better  class  of  modern  architectural 
designs.  720.5 

Adamy,  Rudolf. 

Architektonik  auf  historischer  und  x.%- 
THETiscHER  Gri^ndlage.     Hannover,  Hel- 


wing,  1SS3-96,  2  v.,  and  part  I  of  Vol.  HI., 
32  marks,  15  pfgs. 

This  history  of  architecture  stops  with  the  early 
Renaissance.  Divided  into  convenient  parts,  which 
may  be  bound  separately.  A  systematic  history,  with 
a  great  many  examples  not  given  in  other  works.  It 
should  be  translated,  but  its  numerous  illustrations, 
and  the  Roman  type  m  which  it  is  printed,  make  it 
useful  to  persons  with  even  a  slight  knowledge  of 
German.  720.9 

Architecture,  Academy.     See  Academy. 

Avery  Architectural   Library,   Catalogue   of 
the ;  Columbia  University,  New  York. 
N.  Y.,  Macmillan,  iSgs.  Sio. 

A  large  volume,  very  handsomely  printed  on  thick 
paper,  containing  1139  pages  besides  the  Introduction. 
It  is  a  catalogue  of  titles  and  authors  only,  as,  indeed, 


Architecture  and  Landscape  Gardening. 


39 


was  inevitable,  for  a  subject  catalogue  of  any  utility 
is  necessarily  a  work  of  slow  tjrowth.  When  this  cata- 
lojrue  was  printed  the  Library  contained  13.000  vol- 
umes, and  it  will  be  recollected  that  volumes  of  archi- 
tecture and  decorative  art  are  of  a  high  average  of 
size  and  cost.    See  preliminary  note  to  Part  III. 

720.8 

Billings,  Robert  William. 

AKtlll  IKCl  I'KAI.  Il.I.rSTRATIONS,  HiSTORV  AM) 

Description  of  Carlislk  Cathkdral.     II- 

lus.     Lond.,  T.   &   W.    Bonne,    1S40.     Out 

of  print. 

During  the  years  before  1850  many  carefully  made 
books  had  been  issued  m  England  in  which  were  con- 
tained free-hand  and  measured  drawings  of  the  medi- 
aeval buildings  of  Great  Britain.  These  books  were  a 
powerful  aid  to  the  movement  which  we  call  the  Gothic 
Revival,  which  has  filled  Great  Britain  and  her  depen- 
dencies with  churches  and  civic  and  domestic  buildings 
designed  in  some  form  of  the  Pointed  Style.  Of  the 
earlier  books  those  of  Billings  are  the  best  on  account 
of  the  beauty  and  the  generally  undisputed  accuracy  of 
the  engraved  plates.  This  volume  isa  sufficiently  com- 
plete monograph  of  an  English  Cathedral  as  it  was 
before  the  restorations  were  undertaken  which  formed 
a  part  of  the  recent  Gothic  movement,  and  which  have 
often  done  irreparable  injury.  Photographs  are,  of 
course,  better  than  the  best  free-hand  drawings,  but 
photographs  cannot  always  be  had,  taken  from  the 
same  point  of  view.  The  measured  drawings,  espe- 
cially the  plans,  cannot  be  replaced.  723 

Architectural  Illl'strations  and  Descrip- 
tions OK  THE  Cathedral  Church  of  Dur- 
ham.    Lend.,  T.   &  W.   Bonne,  1S43,     Out 
of  print. 
See  what  is  said  in  the  note  next  preceding.     The 

Cathedral  of  Durham  is  an  especially  interesting  one. 

723 

Blomfield,  Reginald, //;?(/ Thomas,  F.  Inigo. 

The  Formal  Garden  in  England.  Illus. 
N.  v..  Macmillan,  1892,  S3. 

A  most  interesting  treatise  on  such  ornamental  gar- 
dens as  are  architectural  in  their  character,  with  ter- 
races, flights  of  steps,  straight  walks,  fountains,  and 
the  like.  The  author  claims  for  such  gardens  a  superi- 
ority when  associated  with  buildings  of  dignified  char- 
acter.   Compare  Robinson's  "Garden  Design."      712 

Boito,  Camillo. 

Architettur.-v  del  Medio  Evo  in  Italia. 
Milano,  Ulrico  HoepH,  iSSo,  10  lire. 

The  Italians  are  beginning  to  write  the  history  of 
their  own  fine  arts  of  the  past,  a  subject  that  has  been 
left  hitherto  to  foreigners.  It  is  of  course  very  impor- 
tant for  the  student  to  possess  and  understand  the  view 
which  each  people  takes  of  its  own  achievements.  Thus 
the  question  or  the  origin  and  nature  of  that  Italian 
Gothic  art,  which  the  Northern  nations  think  so  inferior 
to  their  own,  should  be  studied  from  the  Italian  point 
of  view.  723 

Brown,  Albert   F.,   and  Isham,    Norman   M. 

Early  Rhode  Island  Houses.     6Vc- Isham. 

Butler,  Alfred  J. 

Ancient  Coptic  Churches  of  Egypt.  Ox- 
ford, Clarendon  Press.  N.  Y.,  Macmillan, 
1SS4,  2  v.,  $7.50. 

A  piece  of  close  personal  research  into  ancient  Chris- 
tian churches  in  Egrypt.  The  subject  seems  more  cal- 
culated for  the  special  student  of  architecture  than  for 
the  general  reader,  but  the  book  will  be  found  exceed- 
ingly interesting,  the  churches,  with  their  paintings 
and  furniture,  well  worth  reading  about,  and  the  whole 
an  admirable  introduction  to  Christian  ecclesiology. 

722 

Cattaneo,  Raffaele. 

L'Architettura  in  Italia  dal  secolo  VI. 
al  mille  circa.  Ricerche  storico-crJtiche. 
Venezia,  On^ania,  18S8,  12  lire.  French 
edition,  15  lire.  Transl.  by  the  Contessa 
Isabel  Curtis-Cholmeley  in  liermani.  as 
Architecture  in  Italy  from  teie  Sixth 


TO  THE  Eleventh  Century  :  Historical 
and  Critical  Researches.  Photogravure 
frontispiece  and  over  100  illus.  Lond.,  T. 
Fisher  Unwin,  i>S(/>,  21s. 

Devoted  to  that  very  early  period  of  the  Italian 
Romanesque  in  which  the  Hyzaniine  influence  is  very 
strung.  See  what  is  said  above  about  the  book  by  Ca- 
millo Boito;  also  what  is  said  about  Ryzantine  art  in 
discussing  books  by  Bayet.  Compare  also  the  note  on 
Mr.  Goodyear's  "  Investigations  of  Italian  Building.'* 

723 

Chateau,  Leon. 

HiSTOIRE  ET  CARACTf:RES  DE  L".\RCHITECTURE 

EN  France.     Paris,  A.  Morel  i.V  Cie.,  1864. 

fr.  7-50. 

A  valuable  book.  It  contains  but  few  illustrations, 
no  index,  no  bibliography,  but  few  and  brief  lists  of 
buildings  of  any  epoch,  and  its  division  is  into  a  few 
long  chapters.  It  has,  therefore,  none  of  the  aids  to 
quick  reading  and  easy  comprehension  which  are  now, 
very  properly,  in  vogue ;  it  is,  moreover,  in  rather  tine 
print.  It  remains,  however,  the  best  narrative  of  ar- 
chitectural history  of  a  given  nation  or  epoch  which 
exists.  724 

Oorroyer,  £douard. 

L'ArchitectureGothioue.  (B.E.H.A.)  Par- 
is, Quantin.   5   fr.     Transl.   as  GoiHic  Ar- 
chitecture.    Edited  by  Walter  Armstrong. 
N.  Y.,  Macmillan,  1893,  $2. 
A  very  good  account  of  the  origin  and  growth  of  the 
great  styles  of  Western  Europe,  from  1150  to  1500,  with 
useful  illustrations.     It  is  the  work  of  a  very  competent 
man,  and  should  be  studied  with  care.  723.5' 

L'Architecture  RoMANE.   (B.E.H..-\.)   Paris. 

Quantin,  iSSS.  5  fr. 

This  excellent  little  book  should  be  studied  in  con- 
nection with  the  same  author's  "  Gothic  Architecture," 
which  is,  of  course,  its  sequel.  It  is  to  be  hoped  that 
this  book  on  "  Romanesque  Architecture  "  will  also  be 
translated.  723.4 

Description  de  l'Abbaye  Mont  Saint-Mi- 
chel rt  i>e  ses  Ahords,  prec^d^e  d'une 
notice  historique.  Paris,  Dumoulin,  1S77, 
gfr. 

Mont  Saint-Michel  isa  little  town  built  around  a  mon- 
astery and  surrounded  by  fortified  walls  of  the  Middle 
Ages.  The  site  which  it  occupies  isa  high  pyramidal 
rock,  an  island  at  high  tide.  The  buildings  of'^the  con- 
vent are  crowned  by  a  large  church,  the  wills  and 
many  of  the  private  buildings  are  unaltered  work  of 
the  Middle  Ages.  It  is  a  gem  of  beauty  and  interest. 
Mr.  Corroyer  has  made  a  most  valuable  monogranh  of 
it,  illustrated  by  130  figures,  of  which  some  are  large 
folding  plates.  No  book  contains  a  stronger  impression 
of  Romanesque  and  Gothic  architecture  as  they  were 
to  those  who  built  and  used  the  structures.       723.44 

Daniel],  A.  C 

London-  City  Churches.  Illus.  N.  Y., 
Scribner,  1S96,  $2.25. 

The  greater  number  of  the  churches  mentioned  in 
this  book  are  the  work  of  Sir  Christopher  Wren  ;  they 
are  of  considerable  value  in  the  history  of  architecture. 
They  are  admitted  to  be  excellent  specimens  of  the 
later  revived  classic  style  inspired  in  the  mam  by  the 
works  of  Palladio  at  vicenza  and  elsewhere  in  Italy. 
This  style  lacks  meaning,  variety,  and  warmth,  but  it 
IS  now  much  in  fashion  among  architects;  these  Eng- 
lish buildings  are  good  e.xamples  of  its  employment  in 
small  and  ine.xpensive  structures.  The  book  is  very  in- 
teresting and  useful  as  a  guide-book  to  buildings  which 
are  not  visited  as  much  as  they  should  be,  724 

De  Forest,  IjOck\70od. 

Indian    Domestic    Architecture.      N.    Y., 

Lock  wood  De  Forest.  7  K.  loth  St.,  $2. 

Devoted  exclusively  to  the  dwellings  of  northern  In- 
dia, and  contains  onlv  twcnty-tive  plu»tographs,  which, 
however,  are  well  selected  as  to  subject,  and  adequate 
in  themselves.  Mr.  De  Forest  is  an  artist  who  has  de- 
voted much  attention  to  the  perpetuation  of  Indian 
wuud-carving,  and  to  design  calculated  to  embody  such 


40 


Architecture  and  Landscape   Gardening. 


c.ir\'ing:.  made  in  India  for  the  purpose.  The  adver- 
tising pafi'es  at  the  end  of  the  book  are  surrounded  by 
curious  borders,  arranged  by  Mr.  De  Forest  himself  in 
the  Indian  taste.  722.4 

De  L'Orme,  P.     Sec  Vachon,  M. 

JDurnij  Josef. 

Die  Baukunst  der  Grtechex  (The  Archi- 
tecture f)F  THE  Greeks).  2d  ed.  Darm- 
stadt, Arnold  Hergstraesser,  iSg2,  20  marks. 

This  is  one  volume  of  the  great  work  entitled  "  Hand- 
buch  dcr  Architektur,"  and  of  its  second  part,  whose 
general  title  is  "Die  Bauslile."  Each  volume  is  to  be 
had  separately.  It  is  greatly  to  be  desired  that  these 
volumes,  of  the  second  part  at  least,  should  be  trans- 
lated into  English  by  competent  persons,  for  no  his- 
t:)rical  works  on  architecture,  for  the  periods  covered 
by  them,  are  obtainable.  They  are  very  fully  illus- 
trated, the  volume  before  U3  containing  260  figures; 
the  buildings  are  treated  from  the  different  points  of 
view  of  construction,  decorative  style,  and  utilitarian 
purpose.  It  IS  believed  that  the  volumes  will  b^  kept 
up  to  date  by  means  of  new  editions;  at  least  in  tne 
case  of  the  book  under  consideration,  the  first  edition 
was  issued  in  1881,  and  eleven  years  later  the  present 
edition  came  out  with  very  important  changes,  made 
necessary  by  the  advance  in  arch^ological  research, 
and  with  additions  in  the  way  oi  tables,  and  the  like. 
In  each  volume  there  is  a  bibliography;  not  complete, 
indeed,  but  including  the  more  important  works  which 
the  student  should  have  wiihin  his  reach  .  m  the  pres- 
ent volume  this  bibliography  is  in  two  parts,  on  pages 
2  and  365,  the  first  part  referring  to  Lhe  history  of  archi- 
tecture in  general,  and  the  second  to  that  of  the  Greeks, 
especially 

Persons  to  whom  the  German  language  is  not  per- 
fectly familiar  will  find  this  text  much  less  difficult 
than  that  of  some  other  works  on  the  same  subject 

722.8 

Die  Baukunst  der  Etrusker  (The  Archi- 
tecture OF  the  Etruscans);  Die  Bau- 
kunst DER  ROEMER  (ThE  ARCHITECTURE  OF 
THE  Romans).  Darmstadt,  Bergstraesser, 
1SS5,  20  marks. 

For  the  character  of  the  series  to  which  this  book 
belongs,  see  the  same  author's  work  on  the  '*  Archi- 
tecture oi  the  Greeks  "  Only  a  few  pages  are  given 
to  Etruscan  art ;  it  is  to  be  remembered  that  we  know 
little  ot  it,  and  that  little  of  minor  importance  to  the 
student  of  other  and  succeeding  styles.  Compare  the 
works  of  Martha  and  Dennis, 

As  to  the  "Architecture  of  the  Romans,"  this  sub- 
ject has  been  very  little  studied  in  comparison  with 
the  more  thorough  work  given  to  the  smaller  and  less 
elaborate  subject  ot  Greek  architecture;  the -^70  pages 
devoted  to  it  in  this  volume  are  wholly  inadequate  to 
the  treatment  of  so  vast  a  record.  At  the  same  Lime, 
no  better  book  exists,  and  probably  none  so  good. 

722.6 

Eastlake,  Si)-  Charles  L. 

History  of  the  Gothic  Reviv.\l.      Loud., 

Longmans.  1S72.     Out  of  print. 

Gothic  architecture  has  never  wholly  died  out  in 
England,  even  in  the  time  of  the  most  decided  classical 
tendencies:  as  early  as  1S40  there  was  a  vigorous  at- 
tempt made  to  restore  it  to  complete  control  of  all 
building  in  England.  This  did  not  succeed,  of  course, 
and  it  may  be  said  that  the  Gothic  revival  has  failed 
because  it  has  not  resulted  in  the  development  of  a 
natural  style,  developing  itself  along  the  natural  lines, 
but  only  a  more  or  less  archaeological  reshaping  of 
ancient  types.  As,  however,  the  architecture  most  in 
favor  and  having  the  strongest  theoretical  base,  be- 
tween 1850  and  1870,  is  thoroughly  treated  in  this  book, 
it  is  well  worthy  ot  study.  No  more  deliberate  at- 
tempt has  ever  been  made  to  restore  an  ancient  art, 
and  the  conditions  which  surround  it,  than  this  Eng- 
lish attempt,  which  had  excellent  and  vigorous  work- 
men at  Its  head,  and  a  religious,  national,  and  archao- 
logical  basis.  723.5 

Enlart,  C. 

Origines  Fran^aisss  de  l' Architecture 
GoTHiQUE  EN  Italie.  Paris.  Thorin  »S: 
Fils,  1S94,  20  fr. 

This  work  is  the  result  of  new  discoveries,  in  part 
original  with  the  author,  as  to  the  first  appearance  of 
Gothic  architecture  in  Italy,  and    the  Northern    in- 


fluences which  caused  it  to  appear.  It  contain:;  34 
photographic  plates  and  131  other  illustrations,  and  i  j  a 
most  interesting  account  cf  a  class  of  buildintjs  little 
known  or  visited.  It  is  a  medium-sized  octavo,  of 
moderate  cost.  723.5 

Essenwein,  P  ugust  von. 

Die  Ausgange  der  classischkn  Baukunst 
(The  Gradual  Disatpearance  of  Classi- 
cal Architecture,  as  in  the  Christian 
Church-building    which    replaced    it) ;    Die 

FORTSETZUNG    DER    CLASSISCHEN    BAUKUNST 

iM  ostrOmischen  Reiche  (The  Carrying 
ON  OF  Classical  Architecture  in  the 
Eastern  Empire,  the  Byzantine  Architect- 
ure considered  as  a  natural  development 
of  the  Classical  Roman).  Darmstadt,  Berg- 
straesser, marks  12.60. 

This  volume  Is  as  good  in  its  way  as  the  volumes  of 
the  same  Handbuch  Series  which  arc  prepared  by  Dr 
Durm,  thcugh  it  is  somewhat  less  unique  in  Us  excel- 
lence, as  treating  on  a  subject  which  has  been  more 
carefully  studied  in  proportion  to  its  magnitude.  If 
considered  as  part  ol  a  general  history  of  architecture 
in  Europe,  this  would  be  the  third  volume,  following 
the  two  by  Dr.  Durra.  723.1 

Die  romanische  und  die  gothische  Bau- 
kunst: I.  Die  Kkiegshaukunst  (Roman- 
esque and  Gothic  Architecture;  I.  Mili- 
tary Building).  With  next  title,  in  i  vol., 
Darmstadt.  Bergstraesser,  16  marks. 

See  what  is  said  ol  the  series  under  Durm  above. 
The  subject  of  mediceval  architecture  begins  with  this 
volume,  which  is  devoted  to  the  fortresses,  the  strong 
castles,  the  border-towers,  the  fortified  churches,  and 
the  city-walls  of  the  Middle  Ages.  723 

Die  romanische  und  die  gothische  Bau- 
kunst :  2.  Der  Wohnkau  (Romanesque 
and  Gothic  Architecture  :  2.  Domestic 
Building).  With  next  preceding  title,  in 
I  vol.,  Darmstadt,  Bergstraesser,  16  marks. 

See  what  is  said  of  the  series  under  Durm  above 
The  present  book  may  be  considered  the  second  volume 
ot  mediaeval  architecture 

Mediaeval  church  building  is  not  yet  covered  by  any 
volume  of  this  series  .  and  this  is  the  more  to  be  re- 
gretted, because  the  whole  development  of  Romanesque 
architecture  in  its  later  ages,  and  of  Gothic  architect- 
ure, was  in  the  churches  and  iheir  construction  As 
this  has  not  been  recognized  in  the  preparation  of  the 
present  series,  and  the  derived  and  secondary  buildings 
have  been  allowed  to  take  precedence  ot  their  originals, 
artistically  speaking,  it  can  hardly  be  hoped  that  the 
Middle  Ages  as  a  whole  will  be  as  well  treated  in  this 
series  of  works  as  are  the  classical,  Byzantine,  and 
Moslem  styles.  As  separate  essays,  well  and  abun- 
dantly illustrated,  they  are  of  great  value.  723 

Fergussorij  James. 

A  History  of  Architecture  in  all  Coun- 
tries, from  the  Earliest  Time  to  the 
Present  Day.  In  5  vols.  3d  edition.  Edited 
by  R.  P.  Spiers.  Lend..  Murray.  1S93.  O3S. 
An  earlier  edition  is  published  in  2  v. ,  N.  Y. , 
Dodd,  Mead  &  Co.  $7.50.  (This  firm  an- 
nounces for  the  near  future  a  reprint  of  the  . 
latest  revised  edition.) 

These  two  volumes  form  the  history  proper,  treating 
the  architecture  ol  European  peoples  and  its  origin  in 
Western  Asia  and  Egypt,  and  coming  down  to  the  time 
of  the  Renaissance.  It  is  important  to  procure  this 
latest  edition.  Many  serious  shortcomings  and  errors 
of  the  original  work  are  supplied  and  corrected  in  it. 
It  IS  the  only  architectural  history  ot  any  value  in  Eng- 
lish, and  so  it  is  named  here  in  spite  of  its  considerable 
cost,  and  of  the  uncritical  character  ot  the  original 
work.  Mr.  Fergusson  was  not  a  builder  or  designer, 
and  much  of  his  book  was  written,  in  the  first  place, 
without  personal  knowledge  of  the  buildings  discussed 
and  before  the  day  of  abundant  photographs.      720.9 

History  of  the  Modern  Styles  of  Archi- 
tecture.    3d  edition.     Revised  by  Robert 


Arihileciiire  and  Landscape  Gardening. 


41 


Kerr.    Lond.,  Murray,  1S91,  2  vols.,  31s.  M. 

N.  Y..  Dodd,  Mead  k  Co.,  Sio. 

This  work  forms  vols,  3  and  4  of  FergTisson's  gen- 
eral historj-;  it  is  devoted  to  the  styles  winch  began 
with  the  Renaissance  of  the  fifteenth  century.      720.9 

History  ok  Indian  and  Eastkkn  Architkci- 
TRK.  Lond.,  Murray.  31s.  6d.  N.  V., 
Dodd,  Mead  &  Co..  $10. 

This  volume  completes  the  series.  It  contains  the 
only  consecutive  account  in  English  of  the  styles  of 
India.  The  account  of  architecture  in  Clima,  Japan, 
e'.c,  is  very  inferior  and  slight.  720.9 

Fletcher,  Banister,  out/  Fletcher,  Banister  F. 

History  (IK  Arciiitecturf,  for  tuk  S  ii'dent, 
Craftsman,  and  Amatktr  ;  beini^  a  Com- 
parative View  of  the  Historical  Styles  from 
the  Earliest  Period.  Lond..  B.  T.  Bats- 
ford.     N.  Y..  Scribner,  1S96,  $4.50. 

The  160  illustrations  are  remarkably  well  selected. 
Most  of  them  are  made  from  photographs  by  the  collo- 
type process,  and  these  are  of  d.flferent  degrees  of  clear- 
ness The  text  IS  not  attractive  for  continuous  reading, 
but  is  intended  for  reference,  and  is  devoted  n  an 
elaborate  comparison  of  different  styles.  See  the  pres- 
ent writer's  review  ot  the  book  in  \\\q  Architectitra/ 
i:L\ord,  V   6,  no.  I.  720.9 


Forster,  Ernest. 

Architecti'rk   of   Germany. 
p.  20.  of  this  bibliography. 


Si-c    Part    I. 


Franz-Pascha. 

Die  Bai'kunst  des  Tsi.am  (The  Architecture 
OF  Islam. /.['..  of  the  Mohammedan  people). 
Darmstadt.  Bergstraesser.  1SS7.  11  marks. 

See  the  description  of  this  series  under  Durm.  By- 
zantine architecture  was  checked  in  its  growth  by  the 
conquests  of  the  Saracens;  its  only  development  of 
later  years  is  to  be  found  in  the  Mohammedan  archi- 
tecture of  Damascus.  Cairo.  Cordova,  Granada,  and 
the  Moslem  countries  generally  This  subject  is  treated 
in  the  volume  belure  us,  which  supplies  the  fullest  gen- 
eral essay  on  this  architecture  that  is  available.  Com- 
pare Lane.Poole.  723.3 

Freeman,  £jd\(rard  A. 

Historical  and  Architecti'ral  Sketches, 
CHIEFLY  Italian.  Lond-,  Macmillan,  1S76, 
los.  6d.     Out  of  print. 

Interesting  papers  on  ancient  cities  and  their  build- 
ings of  great  historical  value  to  ail  students  of  archi 
lecture.  The  author  studied  architecture  all  his  life, 
and  although  wholly  out  of  touch  with  it  asscieniitic 
building  or  as  tine  art,  he  saw  its  value  as  material  for 
history.  *  720.4 

Sketches  from  the  Subject  and  Neighuor 
Lands  of  Venice.  Illus.  N.  Y,,  Mac- 
millan, iSSi.  S2.50. 

Similar  to  the  above  ,  a  continuation  of  it.  devoted 
to  the  little-known  country  from  Treviso  and  Udine 
down  the  Illyrian  coast  to  Cattaro  ,  and  also  to  Tram, 
Oiranto,  and  the  island  of  Corfu.  945 

Article    Normans,    Encyclopaedia    Britannica, 

9th  cd. 

Valuable  points  on  their  -irchitecture  in  England 
and  Sicily. 

Freeman,  Edward  A,,  <///./  Gardiner,  Samuel 
R. 

Article    England.     History,    Encyclopsedia 

Britannica,  9th  ed. 

Mr.  Freeman  made  a  life-long  study  of  architecture 
(see  his  works  mentioned  above):  this  article  contains 
many  valuable  passages  on  the  topic,  as  on  p.  300,  310, 
317,  etc. 

Oailhabaud,  Jules. 

Monuments  anciens  etmodernes  ;  collection 
formant  unc  histoire  do  I'archiiecture  des 


difforents     peuples    ^    toutes    les    6poqucs. 
Paris,  Didot.  1S65,  4  v..  336  fr. 

Wholly  out  of  print,  and  can  only  te  bought  from 
second-hand  catalogues,  but  no  mociern  book  rcf  laces 
it.  The  first  volume  deals  with  rude  stone  monuments 
and  with  classical  antiquities  ;  the  second  with  the  early 
niedi.^val  buildings,  etc,  The  artists  employed  to  make 
the  measurements  and  drawings  were  in  many  cases 
men  who  have  become  very  famous  since,  and  much 
of  this  'prentice  work  was  done  with  religious  care  and 
enthusiasm.  As  a  general  thing,  enough  plates  arc 
given  to  each  building,  or  group  of  buildings,  to  give 
.1  sufficient  idea  of  its  character,  and  even  of  its  details. 

it  would  be  of  the  highest  value  i(  the  work  could 
be  reproduced  with  a  te.\t  revised  in  the  light  of  mod- 
ern critical  knowledge.  720.9 

Gerspach,  Edouard. 

La  MosaTqi^e.     (B.E.B.A.)     Paris.    Qnanlin, 

Treats  of  the  art  of  mosaic  as  seen  in  the  remains  of 
classical  antiquity,  of  its  continued  practice  during  the 
By/antine  period,  and  of  its  employment  in  later  times. 
Even  the  art  cf  the  XIX.  century  is  touched  upon  in 
a  few  ludicious  words.  A  chapter  on  the  technicalities 
of  the  manufacture,  and  one  on  the  proper  system  of 
lis  design,  conclude  the  book. 

The  art  of  mosaic  should  be  studied  by  every  one. 
See  what  is  said  below  under  Miintz.  721.67 

Goodyear,  W.  H. 

Optical  Refinements  in  Medi.^val  Archi- 
tecture. In  the  Architectitral  Kciord, 
N.  Y.,  Vol.  VI.,  No.  I.  Also  reprinted 
separately  as  '"Guide  to  the  Exhibition  of 
the  Goodyear  Collection  of  Photographs  of 
Italian  Architecture  and  Sculpture,  and  of 
the  Survey  of  the  Italian  Medieval  Build- 
ings." 

The  author  has  made  a  special  study  of  ancient  and 
modern  buildings,  careful  measurements  of  which  have 
revealed  curves  in  the  horizontal  or  vertical  sense  in 
lines  generally  assumed  to  be  straight.  The  well- 
known  curvature  of  the  stylobate  and  the  architrave  of 
the  Parthenon  afTordsa  well-known  instance;  this  vas 
discovered  by  Penrose,  but  Mr  Goodyear  claims  to 
have  discovered  very  many  similar  instances,  and  the 
present  essay  deals  with  those  of  the  early  Middle  Ages 
in  Italy  Mr  Goodyear's  article  named  here  is  the 
first  of  a  series  he  is  {1896)  contributing  to  the  Archi- 
tectural Record.  He  purposes  to  treat  the  theme  in 
book  form.  723 

Griffin,  Sir  Lepel. 

pAMtn^s  Monuments  of  Central  India. 
Lond.,  Sotheran,  £^  5s. 

An  oblong  folio  volume  of  photographs,  which  it  is 
to  be  hoped  will  prove  permanent  See  what  is  said 
under  Le  Bon  ;  the  book  thee  mentioned  is  more  com- 

glete.  but  the  photographs  are  smaller  and  much  less 
eautifu'  in  themselves  than  these.  722.4 

Gwilt,  Joseph. 

Encvclop/edia  of  Architecturf.  ;  Histori- 
cal, Theoretical,  and  Practical.  Re- 
vised by  Wyatt  Papworth.  X.  Y..  Long- 
mans. iSSS.  I17.50. 

Has  passed  through  many  editions.  Attempts  to 
combine  in  one  thick  volume  a  history  of  the  art.  the 
mathematics  which  the  practitioner  is  supposed  tore- 
quire,  some  knowledge  of  statics  and  mechanics,  and 
manypa^esof  directions  as  to  practice,  together  with 
a  very  full  bibliography  and  a  glossary  of  terms  used 
in  architecture,  wrnich  covers  nearly  200  pages.  It  is, 
therefore,  not  without  value,  and  reference  to  it  will 
far  more  often  be  useful  than  misleading.  What  it 
roost  lacks,  perhaps,  is  delicacy  of  distinction  in  the 
account  of  architectural  styles.  As  to  the  practical 
part,  one  cannot  make  himself  an  architect  bv  studying 
a  book  or  many  books,  but  many  questions  that  arise 
may  be  answered  by  rcieren  :c  to  these  pages.     720.3 

Hamlin,  A.  D.  F. 

HisioRY  OF  Architecture.     N.    Y..   Long- 
mans, 1S96,  S2. 
One  of  the  series  of  "  College  Histories  of  Art,"  of 

which  Van   Dyke'     "History  of  Painting"   was  the 


42 


Architecture  and  Landscape   Gardening. 


first.  Prof.  Hamlin's  book  isintended  mainly  for  study, 
as  in  the  college  class-room,  and  much  is  made  of  the 
lists  of  "monuments"  which  conclude  the  chapters. 
These  are  surprisingly  complete.  At  the  head  of  each 
chapter  is  also  a  list  of  books  recommended,  very  ju- 
diciojsly  made  up,  except  that  one  would  like  to  ex- 
clude some  books  published  sixty  years  or  more  ago, 
which  cannot  be  trusted.  The  te.xt  itself  is  singularly 
intelligent,  and  indicates  a  firm  grasp  of  the  reality 
rather  than  of  the  mere  external  appearance  of  things, 

720,9 
Harris,  Thomas. 

Three  Periods  of  English  Architecture. 
Lond..  B.  T.  Batsfoid,  7s.  6d. 

This  book  assumes  it  as  evident  that  the  Hfelesscon- 
dition  of  modern  architecture  requires  an  entirely  new 
beginning  in  order  that  any  living  architecture  may 
arise.  Writing  for  English  people,  the  author  advises 
the  adoption  of  Elizabethan  and  Tudor  architecture 
and  the  gradual  development  of  these  styles,  by  the  use 
of  modern  materials  and  appliances,  into  a  modern 
style.  720.42 

Harrison,  Frederick. 

Annals  of  .vn  Old  Manor-Holse,  Sutton 
Place,  Guildford.  Illus.  N.  Y.,  Macmil- 
lan,  1S93,  $14. 

For  the  study  of  ancient  domestic  architecture,  and 
for  a  good  understanding  of  Elizabethan  architecture 
in  general,  nothing  better  could  be  offered  than  this 
most  interesting  book.  A  part  of  the  te.xt  is  devoted  to 
family  history  and  the  like,  but  much  of  it  is  immediate- 
ly connected  with  the  building  itself.  The  illustrations 
comprise  photographic  views,  colored  prints  of  stained 
glass,  plans,  and  details  of  the  sculpture  and  wood- 
work. 720.42 

Haupt,  Albrecht. 

Baukunst  der  Renaissance  in  Portugal  von 
1495-1640.  Frankfurt  a/M..  Heinrich  Kel- 
ler, 1S95,  2  v.,  40  marks. 

Portugal  is  so  very  little  known  as  a  country  with 
architectural  remains  that  the  publication  of  this  small 
quarto,  with  its  three  hundred  pages  and  as  many  il- 
lustrations, is  an  immense  gain  to  the  general  study  01 
architecture.  Fortunately,  it  is  a  good  bookj  not  pre- 
tending to  completeness,  but  thorough,  and  displaying 
singular  insight.  720.469 

HavEird,  Henry. 

La  France  Artistique  kt  Monumentale. 
Paris,  La  Librairie  lllustree,  Montgredien, 
6  v.,  I  So  fr. 

Each  volume  contains  eight  or  nine  monographs  on 
an  important  building  or  group  of  buildings.  There 
are  in  all  150  photographic  plates,  and  perhaps  400  il- 
lustrations in  the  te.xt,  some  photographic  and  some 
from  drawings.  The  te.xt  itself  is  written  in  every 
case  by  some  person  especially  well  informed  as  to  the 
building  in  question.  It  will  be  seen  that  here  is  to  be 
had  at  a  very  slight  expense  a  remarkable  encyclo- 
paedia of  trustworthy  information  concerning  the  fine 
architecture  of  almost  all  epochs.  720,44 

Huss,  George  Martin. 

Rational  Building,  a  translation  of  the  ar- 
ticle Construction,  in  the  '*  Dictionnaire 
Raisonne  del' Architecture  Fran9ais  "of  Eu- 
gene-Emmanuel VioUet-le-Duc.  Illus.  N.  Y., 
Macmitlan,  1S95,  $3. 

The  paper  in  the  original  occupies  more  than  half 
of  one  of  the  volumes  of  the  famous  French  work 
quoted  in  the  title.  Construction,  according  to  Roman- 
esque and  Gothic  methods,  as  followed  from  the  XI.  to 
XVI.  century,  was  much  more  elaborate  than  the  con- 
structioti  of  classical  times,  and  far  more  logical  and 
based  upon  reason  than  that  of  later  times.  Mr.  Huss 
has  given  us  a  translation  of  this  in  a  volume  of  350 
pages,  with  all  the  original  illustrations.  The  transla- 
tion is  altogether  exceptional  in  its  minute  faithfulness 
to  the  origmal  text.  721 

Isham,  Norman  M.,  a}id  Brown,  Albert  F. 

Early  Rhode  Island  Houses.  Illus.  Provi- 
dence, R.  I.,  Preston  &  Rounds,  1S95,  $2.50. 

A  thorough  and  critical  study  of  very  early  American 
building,  tracing  me  traditions  which  govern  it  back 


to  English  building  of  earlier  times.  A  book  to  be 
commended  strongly.  See  the  writer's  review  of  it  in 
A rchitfcturLil  Record^  v.  6,  no.  i.  720.74 

Jackson^  T.  G. 

Mddern  Gothic  Architecture.  Lond., 
Henry  S.  King  &  Co.,  5s.  Out  of  print. 
This  little  book  of  206  pages  considers  the  attempted 
Gothic  revival  in  Great  Britain  from  the  pomt  of  view 
of  sound  reasoning  and  true  analysis.  In  this  connec- 
tion nearly  all  the  important  considerations  which 
should  influence  modern  architectural  practice,  and  do' 
not,  are  properly  presented.  It  is  a  valuable  book  for 
every  student  of  architecture  to  read,  and  the  general 
propositions  laid  down  in  it  should  be  carefully  pon- 
dered. 724. S 

Dalmatia,  theQuarnero.  and  Istria.  Illus. 
Oxford,  Clarendon  Press.  N.  Y.,  Macmil- 
lan,  1S87,  3  v.,  $10.50. 

One  of  those  valuable  books  on  architecture  which 
are  made  up  by  the  author's  personal  observations,  in  a 
region  rich  in  monuments  of  art.  On  the  eastern  coast 
of  the  Adriatic  the  remains  of  the  late  Roman,  of  early 
Romanesque,  and  later  Romanesque  art  are  very- 
abundant,  and  have  been  m.uch  less  studied  than  those 
of  more  accessible  parts  of  Europe.  To  the  general 
reader  it  may  be  said  that  the  aspect  and  character  of  a 
land  in  which  ancient  buildings  remain  almost  intact  is 
admirably  reproduced.  724.8 

Kerr,  Robert. 

The  Gentleman's  House  :  or.  How  to  Plan 
English  Residences.     Lond.,    John    Mur- 
ray. 1865,  24s.     Out  of  print. 
Only  a  part  of  this  volume  appeals  to  the  general 
reader  of  rine  Art  books,  viz.,  that  which  deals  with 
houses  and  their  simple  arrangements,  gradually  grow- 
ing  more  elaborate.     The   book  generally  deals  with 
plans  only,  ignoring  the  artistic  side  of  architecture. 

728 
Le  Bon,  Gustave. 

Les  Monuments  de  lTnde.  Illustre  d'en- 
viron  400  figures,  h^Iiotvpes.  dessins, 
cartes,  et  plans.  Paris,  Firmln-Dldot  & 
Cie.,  1893,  40  fr.     • 

For  the  study  of  the  splendid  architectural  remains 
of  India,  covering  a  period  of  2000  years  and  embody- 
ing many  principles  of  construction  and  decoration  not 
known  to  Europe,  the  only  general  treatise  in  English 
is  the  brief  one  of  Fergusson.  The  work  now  before 
us  is  more  complete,  more  scientific,  and  much  more 
fully  illustrated;  the  illustrations,  moreover,  being 
photographic.  Other  works  on  the  subject  are  gen- 
erally of  the  nature  of  monographs,  or  are  mere  collec- 
tions of  pictures.  See  what  is  said  under  Griffin  and 
De  Forest.  722.4 

Lethaby,  W.  R.,  <///</  Swainson,  Harold. 

The  Church  ok  Sancta  Sophia.  Constanti- 
nople :  a  study  of  Byzantine  Building. 
Illus.     N.  Y.,  Macmillan,  1894.  $6.50. 

The  Church  of  Sancta  Sophia,  or  Hagia  Sophia,  at 
Constantinople,  is  the  most  important  building  in  the 
world,  at  least  to  all  those  whose  ideas  of  art  and  his- 
tory are  based  upon  the  Roman  tradition.  There  are 
large  monographs  devoted  to  the  buildmg,  and  there 
exist  contemporary  documents  which  fortunately  pre- 
serve the  feelings  of  the  builders  and  their  employer, 
the  Emperor  Justinian.  This  book  is  made  up  of  a 
study  of^  those  documents  combined  with  personal  e.x- 
amination  of  the  building  ;  It  is  eminently  trustworthy, 
and  in  every  way  a  valuable  work.  The  illustrations 
are  both  useful  and  unusually  artistic  as  decorations  of 
the  book.  723.2 

Lewis,  T.  Hayter,  ami  Street,  G.  E. 

Article  Architecture,  Encyclopaedia  Britan- 

nica.  9th  ed. 

Far  less  valuable  for  classical  architecture  than  Mr. 
Murray's  article  on  "  Archaeology  "  in  the  same  work  ; 
shows  a  lack  of  clear  understand  mg  of  styles  and  essen- 
tial differences.  Mr.  Street  was  an  architect  m  large 
practice  until  his  death  in  December,  i88r,  but  he  was 
exclusively  devoted  to  the  Gothic  Revival,  and  although 
to  be  exclusive  in  one's  own  way  is  often  good  for  an 
artist,  it  is  bad  for  a  critic.  There  are  errors  in  the 
early  part  of  "Pointed,"  but  the  descriptions,  as  of 
Chartres  Cathedral,  are  not  bad. 


Architecture  and  Landscape   Gardening 


43 


Linn,  W.  A. 

Hlilding  and  Loan  Associations.  In 
"Homes  in  City  and  Country."  N.  V., 
Scribner,  1S93. 

Mr.  Linn,  managing  editor  of  the  New  York  Even- 
ing Post^  has  given  much  attention  to  this  subject. 
He  presents  the  whole  case  very  clearly.  He  hnds 
great  advantages  in  the  associations  in  -lucstion,  and 
makes  this  plain  to  the  reader.     Many  illustrations. 

Loftie,  W.  J. 

Im(;o  Jonks  and  Wren;  or,  The  Rise  ani> 
Decline  of  Modern  Architecture  in 
England.  IHus.  N.  Y.,  Macmillan,  1S93, 
§4-50. 

A  small  quarto  book,  with  some  very  valuable  illus- 
trations of  buildings  of  the  Classical  Revival  in  Eng- 
land. The  author  is  a  clergyman  who  has  written 
much  about  London  and  architectural  art  in  England. 
His  purpose  in  the  present  work  is  to  urge  the  great 
superiority  in  the  way  of  delicate  proportion  of  the  art 
of  Jones,  Wren,  and  their  successors,  and  to  protest 
against  the  revived  Gothic  as  he  saw  it  in  England 
during  the  years  previous  to  the  publication  of  the 
bo:ik.  The  oook  must  be  taken  as  the  interesting 
presentation  of  one  side  only  of  an  important  q^ucstion 
that  involves  an  historical  account  of  building  in  Eng- 
land since  1550.  720.42 

Longfellow,  William  P.  P.,  editor, 

CvCLOr.EDIA     OF     WORKS     OF     ARCHITECTURE 

IN  Italy,  Greece,  and  the  Levant.     Illus. 

X.  Y..  Scribner,  1S95.  $25. 

Of  the  nature  of  a  gazetteer  ;  that  is  to  say,  a  geo- 
graphical dictionary  of  the  most  important  monuments 
of  the  countries  named  in  the  title.  It  is,  then,  an  ad- 
dition to  the  valuable  guide-books  of  which  there  is 
mention  elsewhere.  Its  peculiar  value  is  probably  in 
its  treatment  of  the  cities  of  the  East,  as  of  the  Balkan 
Peninsula,  Syria,  and  Asia  Minor,  for  which  no  ade- 
quate guide-book  exists.  720  3 

liOngmanj  William. 

History  of  the  Three  Cathedrals  Dedi- 
cated TO  St.   Paul  in   London.      Lend.. 
Longmans,  1S73.     Out  of  print. 
An  excellent  account  of  the  old  church  of  St.  Paul, 
finally  destroyed  in  the  tire  of  1666,  and  the  long  prepa- 
rations for  the  present  structure,  designed  by  Sir  Chris- 
topher Wren,  as  well  as  of  the  building  itself.     The 
wno'e  is  a  valuable  chapter  in  architectural  history. 
It  is  rather  important  to  the  student  that  he  should  be- 
come aware  how  complex  and  many-sided  is  the  prob- 
lem involved  in  a  large  building  for  national  purposes. 
This  knowledge  is  as  well  gained  in  this  book  as  in  any 
to  which  reference  can  be  made.  720.42 

Macgibbon,  David. 

Architecture  of  Provence  and  the  Ri- 
viera. Edinburgh,  David  Douglas,  i8S3, 
21S. 

By  one  of  the  two  authors  of  the  valuable  books  on 
Scotland  given  below.  In  this  book  the  buildings  of 
Roman  time  and  of  the  Middle  Ages  early  and  late, 
which  are  to  be  found  as  one  travels  from  VIennc 
through  Aries  and  Nimes  to  Carcassonne,  and  so  back 
eastward  along  the  Riviera  to  Genoa,  are  described 
and  pictured  in  spirited  drawings  whose  trustworthi- 
ness to  general  effect,  and  to  details,  need  not  be 
doubted.  720.44 

Macgibbon,  David,  and  Ross,  Thomas. 

CastelLvVted  and  Domestic  Architecture 
OF  Scotland  FROM  THE  XIL  to  the  XVIIL 
Centl'ry.       Edinburgh.     David     Douglas, 

IS92,     5    v..    ;^IO    lOS. 

This  book,  illustrated  with  a  great  number  of  trust- 
worthy drawings,  included  in  the  text,  contains  a  very 
complete  account  of  the  ancient  non-ecclesiaslical  build- 
ings of  Scotland.  No  one  unfamiliar  with  the  country 
would  suppose  there  was  so  much  of  historical  and 
suggestive  value  within  its  narrow  limits.  A  student 
seeking  examples  of  the  picturesque  and  cflfcctive  in 
simple  buildings  erected  at  moderate  cost  will  fine) 
what  he  desires  here.  Compare  the  "  Ecclesiastical 
Architecture"  of  the  same  authors.  720.41 


N.  Y.,  Ap- 
720.9 


Ecclesiastical  Architecture  of  Scotland 
FROM  THE  Earliest  Christian  Time  to  the 
XVII.    Century.      Vols.   I.    and    11.    [III. 

not  published  yet].   Edinburgh,  Diiviil  Doug- 
las, i894-<)6.  S4S.     N.  v..  Scribner,  $33.60. 

This  v,*ork  will  be,  perhaps,  more  generally  useful 
than  the  book  by  the  same  authors  on  civic  architecture. 
This  work  is  uniform  with  the  other  in  style  and  ap- 
pearance. 720.41 

Marquand,  Allen. 

Greek:  ARciiriECTURE.      Illus,     N.  V.,   Mac- 
millan.    Announced  without  date. 
The  author  is  Professor  of  Fine  Art  at   Princeton 

University.  722.8 

Mathews,  Charles  T. 

The  Story  of  Architecture. 
pleton,  1S96,  $3. 

Melani,  Alfred  O. 

Akchitettur.v  Italiana,  Parte  Prima ;  Ar- 
chitettura  Pelasgica,  Etrusca,  Italo-Greca 
e  Romana.  Milano,  Ulricu  Hoepli,  1SS7,  2 
v.,  6  lire. 

This  book,  which  forms  one  of  the  Hoepli  Manual!, 
is  selected  for  mention  because  it  is  very  desirable  to 
read  the  history  of  every  style  as  it  is  written  by  the 
writers  of  the  same  nationality;  and  also  because  they 
are  two  volumes  on  the  fine  arts  prmted  in  Italian  which 
are  within  reach  rf  .American  students,  and  because 
the  Italian  view  of  fine  art  ought  to  receive  more  atten- 
tion than  it  does.  This  second  edition  is  a  useful  little 
book,  though  not  containing  what  I-'rench  and  Amer- 
ican writers  would  consider  the  latest  conclusion  of 
archaeology.  720.45 

Mersonj  Olivier. 

Les  Vitraux.     (B.E.B.A.)     Paris,    Quantin, 

5fr. 

A  small  treatise  on  the  large  and  difficult  subject  of 
glass  painting  and  decorative  windows,  ancient  and 
modern.  Highly  valuable  as  an  introduction  to  the 
subject ;  written  with  ^reat  good  sense  and  large  knowl- 
edge. It  is  not  surprising  that  the  recent  triumphs  of 
American  glass  painting  are  ignored.  729.8 

Michaelis,  Adolf. 

Der  Parthenon.  Mit  einem  Textheft.  Hlus. 
Leipzig,  Hreitkopf  *S:  Hiirtel,  1S70,  30  marks. 

Though  a  small  and  thin  folio  on  the  famous  ruined 
temple  at  Athens,  with  a  mere  pamphlet  of  text,  con- 
tains everything  that  the  student  generally  requires  for 
a  knowledge  of  the  building.  Peculiarly  valuable  is 
the  engraved  representation  of  all  the  sculptures  of  the 
building  which  are  known  to  exist:  the  slabs  of  the 
naos  frieze  being  numbered  according  to  the  places 
which  they  are  known  to  have  occupied,  or  thought  to 
have  occupied,  originally.  The  sculptures  of  the  pedi- 
ment are,  of  course,  not  so  easily  placed.  All  theories 
on  that  subject  arc  merely  theories.  722.8 

Middleton,  J.  H. 

Article   Rome,   TorooiiAPHY  and   Arch>eol- 
oov,  beginning  p.  S07.   Encyclopaedia  Bri- 
tannica,  oth  ed. 
Sec  what  is  said  of  this  writer's  book  on  Rome,  in 

Part  I. 

Mitchell,  Donald  G. 

The  Coi^ntry  Hoi'se.  In  "Homes  in  City 
and  Country."  N.  Y..  Scribner,  1S93. 
Mr.  Mitchell  has  (or  many  years  been  a  landscape 
gardener  by  profession.  The  essay  under  consideration 
IS  rather  historical  than  didactic:  il  contains  an  admi- 
rable account  of  growth  and  change  of  country  houses 
in  the  northeast  of  the  United  Suies. 

Moore,  Charles  Herbert. 
Development  ano  Char/VCter   of    Gothic 
Architeci'Itre.     Illus.     N.  Y  ,  Macmillan, 
iSc>o.  $4-50- 
An  cQthusiaslic  and  scholarly  book  devoted  10  the 


44 


Architecture  and  Landscape   Gardening. 


examination  of  Gothic  architect  jre  m  its  essential  struct- 
ure and  the  resulting  forms.  Mr.  Moore  finds  that  not 
only  did  the  style  take  its  origrin  in  northern  France, 
but  that  it  never  was  practised  in  its  completeness  and 

funty  outside  of  France  except  in  certain  instances, 
t  is  a  book  to  be  studied  with  the  greatest  care  by  any 
one  desiring  to  know  the  facts  as  they  offer  themselves 
to  a  very  careful  and  close  student  who  is  not  himself 
a  builder.  Attentive  reading  of  it  cannot  but  give  the 
reader  larg^er  views  of  the  importance  of  a  more  minute 
inquiry  into  the  essence  and  origin  of  architectural 
forms  than  is  generally  bestowed.  724.3 

Morris,  William,  and  I^iddleton,  J.  Henry. 

Article  MuR.vi,  Decoration,  Encyclopaedia 
Brilannica,  gth  ed. 

Good  both  in  th^  architecture  and  the  painting.  The 
illustrations  are  also  very  valuable. 

Miintz,  Eugene. 

La  MoSA'ftJl'E  CHRETIEN'XE  PENDAN'T  LES  PRE- 
MIERS SIECLES.  I.  La  Technique  ;  IL  La 
Mosafque  dans  les  catacombes.  lUus, 
Paris,  Leroux,  1S93,  6  fr. 

'this  is  a  fuller  treatise  on  the  same  subject  as  the 
one  by  Gerspach,  given  above.  Mosaic  has  the  singu- 
lar importance  of  being  the  only  great  art  combining 
representative  and  decorative  qualities  of  the  long 
epochs  from  the  IV.  to  the  XII.  century.  721  67 

NevUl,  Ralph. 

Old  Cottage  and  Domestic  Architecture 
IN  Southwest  Surrey,  and  Notes  of  the 
Early  History  of  the  Division.  Guildford, 
Billin,i;;s  tS:  Son;  Lond.,  Batsford,  1S91,  20s. 

From  among  the  great  number  of  specialized  works 
Tvhich  the  modern  architectural  library  contains,  this 
one  IS  selected  as  giving  a  great  number  of  trustworthy 
drawings  of  small  houses  built  in  a  really  traditional 
manner.  There  are  here  both  city  and  coyntry  houses, 
and  also  many  standing  on  the  streets  of  small  villages; 
they  are  all  built  according  to  the  feeling  for  pictu- 
resqueness  and  fitness  of  design  which  is  al  ways  found 
■where  old  traditions  are  undisturbed,  and  where  mod- 
ern self-consciousness  and  archteologica!  study  have 
not  come  in.    There  is  a  useful  descriptive  text. 

720.42 

Palustre,  Leon. 

L'Architecture  he  la  Renaissance.  (B.  E. 
B.  A.)     Paris,  Quantin,  1S92,  5  fr. 

Mr.  Palustre  is  known  for  his  thorough  study  of  the 
French  Renaissance.  This  culminated  in  a  noble  book, 
of  which  three  large  volumes  have  appeared,  but  which 

?jrobably  remain  a  fragment  because  the  system  of  il- 
ustration  adopted,  namely,  by  means  of  etchings,  has 
now  become  obsolete.  If  the  publishers  would  have 
the  moral  courage  to  change  the  plan  to  one  based 
upon  photography,  "  La  Renaissance  en  France  " 
might  yet  be  brought  to  a  triumphant  conclusion.  In 
the  meantime,  the  little  book  before  us  is  a  first-rate 
introduction  to  the  study  of  those  styles  of  architecture 
which  took  shape  in  Italy  about  1420,  and  in  the  rest 
of  Europe  during  the  century  which  followed. 

720.44 
Papworth,  Wyatt. 

Article  Building,  Encyclopaedia  Brilannica. 
9th  ed. 

Valuable  in  its  account  of  the  knowledge  necessary 
to  the  architect  and  of  the  processes  of  planning  and 
erecting  a  building.  The  general  principles  of  con- 
struction, except  in  modern  iron  and  steel  building,  are 
well  explained. 

Parker,  John  Henry. 

Domestic  Architecture  in  England  from 
Richard  II .  to  Henry  VI 1 1.  Oxford, 
1859.     Out  of  print. 

This  book  divided  into  two  parts,  although  with 
continuous  pagination,  is  the  third  of  a  series  (see 
Turner,  T.  H.,  and  also  Parker  and  Turner).  The  very 
interesting  subject  o(  house  architecture  in  England 
is  treated  in  an  attractive  style,  and  with  such  com- 
pleteness as  IS  practicable  in  a  work  comprised  in  four 
moderate  octavos.  T.  Hudson  Turner  was  an  enthusi- 
astic student,  and  although  he  died  before  the  develop- 
ment of  mediaeval  archaeology  to  any  great  perfection, 
he  was  one  of  the  most  useful  of  the  earlier  helpers  in 


the  work.  Mr.  Parker  is  not  to  be  commended  aa  an 
archaeologist.  Still  their  joint  work,  and  the  work  of 
Mr.  Parker  alone,  have  suihced  to  furnish  students  with 
a  work  which  may  hold  its  place  even  after  more  criti- 
cal books  shall  have  appeared.  There  are  a  great  num- 
ber of  illustrations,  generally  trustworthy.         720.42 

Parker,  J.  H.,  uud  Turner,  T.  H. 

Domestic  Architecture  ix  England  from 
Edward  1.  to  Richard  II.     Oxford,  1S53. 
Out  of  print. 
The  second  of  a  series  (see  Turner,  T.  H.,  and  also 

Parker,  John  Henry).  720.42 

Parsons,  Samuel,  yr. 

Small  Country  Places.  In  "  Homes  in 
City  and  Country."  N.  Y.,  Scribner,  1893. 
Mr.  Parsons  had  been  for  a  number  of  years  the 
landscape  gardener  and  superintendent  of  the  New 
York  City  Department  of  Public  Parks.  See  his  work 
(m  "  Landscape  Gardening,"  mentioned  below.  This 
short  essay  is  of  very  high  value  in  the  way  of  sug- 
gestion. 

Landscape  Gardening;  arrangement  of  coun- 
try places,  large  and  small  parks,  etc.  N.  Y., 
Putnam,  1S91,  S3. 50. 

This  valuable  book  consists  of  17  chapters,  which  are 
so  many  essays  on  different  aspects  or  landscape  gar- 
dening. It  is  very  fully  illustrated  with  wood-cuts  and 
half-tone  prints  from  nature.  The  paper  on  City  Parks 
and  that  on  lawn  planting  for  small  places,  are  of  im- 
mediate interest  10  every  one.  710 

Piatt,  Charles  A. 

Italian  Gardens.     N.  Y..  Harper,  1S94.  %%. 

A  thin  quarto  with  many  photographic  illustrations, 
devoted  to  a  branch  of  decorative  art  very  little  studied 
in  modern  limes,  but  worthy  of  the  closest  examination 
by  all  who  are  interested  in  architecture — the  system 
and  the  art  of  laying  out  gardens  so  as  to  be  closely  in 
harmony  with  the  architecture  of  large  country  houses. 
Such  gardening  reached  its  highest  development  in 
Italy  in  the  XVII.  century.  Compare  Blomtield  and 
Thomas.  712 

Price,  Bruce. 

The  Suburban  Hoitse.  In  "  Homes  in  City 
and  Country."      N.  Y..  Scribner,  1893. 

Mr.  Price  is  an  architect  of  New  York  City  who,  at 
the  time  (jf  the  appearance  of  this  article,  had  himself 
built  many  houses  at  Tuxedo  Park  and  elsewhere.  The 
paper,  unlike  most  of  the  others  in  the  volume,  is  wholly 
concerned  with  the  buildings  of  the  day.  It  includes 
illustrations  of  fourteen  characteristic  houses  by  nearly 
as  many  different  architects. 

Rameej  Daniel. 

Histoire  General  de  l'Architecture.  Par- 
is, Amyot,  1S60-62,  2  v.,  36  fr. 

A  far  more  systematic  history  than  that  of  Fergus- 
son.  It  IS,  indeed,  composed  on  right  lines  for  such  a 
work.  It  does  not  contain  the  latest  results  of  archaeo- 
logical study,  and  the  illustrations,  though  of  the  kind 
most  needed  for  the  text,  are  too  few  for  its  full  ex- 
planation. Like  most  treatises  on  architecture,  the 
narrative  stops  with  the  earlier  Renaissance,  giving 
but  the  slightest  mention  to  all  that  follows  the  XV. 
century, 

1 1  has  been  stated  that  this  book  contains  many  errors 
ot  fact  and  date.  720.9 

Reber,  Franz  Von. 

KUNSTGESCHICHTE  DES  MiTTELALTERS.       Leip- 

zic,   Weigel.    16   marks.     Transl.  by  J.    T. 

Clarke   as    History    of    Medl-eval    Art. 

N.  Y.,  Harper.  18S7.  $5. 

Of  mediseval  fine  art  Architecture  is  very  much  the 
most  important  form,  and  it  includes  most  of  the  other 
arts  as  practised  during  the  Middle  Ages. 

This  translation  is  unusual  in  being  the  work  of  a 
very  competent  writer.  A  small  glossary  of  technical 
terms  is  added.  709 

Robinson,  W. 
Garden  Design  and  Architects'  Gardens. 
Two  reviews,  illustrated  to  show,  by  actual 


Architecture  and  Landscape   Garditiing. 


45 


examples  from  British  gardens,  that  clip- 
ping and  aligning  trees  to  make  iheni  "  har- 
monize "  with  architecture  is  barbarous, 
needless,  and  inartistic.  Lond.,  John  Mur- 
ray, 1S92.  5s.      N.  Y.,  Scribner.  $2. 

A  plea  for  the  more  informal  and  naturalistic  style 
of  gardening,  even  in  connection  with  stately  archi- 
tecture. It  is  written  m  answer  to  such  a  book  as 
Blomfield  and  Thomas's  "  Formal  Garden  in  England  " 

710 

Jlohault  de  Fleury,  Georges. 

La  Toscane  al-  Moyen  Age  :  architecti're 

CIVILE  ET  MILITAIRE.     Paris,  Morel  et  Cie., 

1S73,  2  v.,  iSo  fr.      Out  of  print. 

This  book,  which  is  never  expensive,  in  two  smal' 
folio  volumes,  contams  measured  drawings  and  picto- 
rial drawings  of  such  interesting  buildings  as  the  Pa- 
lazzo Vecchio  and  the  Loggia  de  Lanzi,  at  Florence, 
the  Palazzo  Pubblico  of  Siena,  and  private  houses,  city 
walls,  and  gates  in  half  the  cities  of  Tuscany.  The 
value  of  the  whole  is  greatly  helped  by  the  excellent 
plans  of  the  diflFerent  cities  which  are  given,  and  the 
general  views  of  the  same  cities  from  hill-tops  near. 
Not  students  of  architecture  only,  but  readers  of  medi- 
seval  and  later  history  and  students  cf  the  tine  art  of 
Italy  will  find  this  book  extremely  suggestive. 

720.45 
Root,  John  W. 

TnK  City  House  in  the  West.     In  "  Homes 

in   City   and    Country."      N.   Y.,   Scribner. 

1S93.   ' 

The  houses  examined  are  nearly  all  of  very  recent 
date,  and  in  this  respect  the  article  differs  from  those 
by  Mr.  Mitchell  and  Mr.  Sturgis  in  the  same  volume. 
A  dozen  western  houses,  well  selected,  are  given  in  the 
illustrations.  The  article  will  be  found  very  much  too 
laudatory  of  the  designs  criticised,  and  more  hopeful 
than  IS  safe. 

Rosengarten,  A. 

Die  Architektonischen  Stylarten.  Braun- 
schweig, Vieweg,  13  m.  Trans),  as  Hand- 
book OK  Architectural  Styles,  lllus. 
N.  Y.,  Scribner,  $2.50.  720 

Jtuskin,  JohD. 

The  Seven  Lamps  of  Architecture.  Lond., 
Geo.  Allen,  7s.  6d.  With  preface  by  Charles 
Eliot  Norton.  N.  Y.,  Mavnard,  Merrill  tV 
Co.,  $2. 75. 

This  book  was  first  published  in  1849  ;  it  is  a  marvel- 
lous piece  of  work  for  a  man  under  thirty;  compact 
and  vigorousin  thought,  imaginative — a  real  poem  with- 
out metre— superbly  written,  with  sustained  strength 
and  flexible  adaptation  of  language  to  thought.  Asa 
book  of  art  criticism,  it  is  of  no  value.  The  architect- 
ure it  treats  of  is  a  dream,  a  conception  of  the  writer, 
having  no  connection  with  the  actual  Gothic  buildings 
of  Europe,  upon  a  close  study  of  which  it  is  supposed 
to  be  founded.  The  first  edition  contained  14  prints 
from  soft  ground  etchings  by  the  author,  which,  al- 
though from  very  careful  drawinys.  were  not  success- 
ful mechanically.  The  second  edition,  1855,  contained 
illustrations  "drawn  by  the  author  and  re-etched  by 
R.  E.  Cuff,'  with,  moreover,  the  frontispiece  carefully 
engraved  on  metal.  720.4 

The  Stones  of  Venice.  Lond..  Geo.  Allen, 
2  v.,  los.  Also,  with  preface  bv  Charles 
Eliot  Norton.  N.  Y.,  Maynard,  .Merrill  & 
Co.,  2  v.,  S3. 

This  work  was  completed  in  1853  in  three  large  vol- 
umes with  many  illustrations.  It  is  not  advisable  that 
the  student  should  depend  upon  its  conclusions  or  even 
Its  suggestions.  It  is  even  more  decidedly  character- 
ized than  the  author's  other  works  by  that  false  theory 
of  criticism  which  may  be  stated  thus:  Reason  out  first 
what  a  given  work  of  art  ought  to  express,  and  then 
compare  the  actual  work  of  art  with  your  conclusion  ; 
and  denounce  it  boldly  if  it  deviates  from  such  a  stand- 
ard. 

Those  books  only  are  to  be  used  for  edification  which 
follow  the  opposite  course,  and  begin  by  examining 
carefully  what  the  work  of  art  does  say  and  is  meant  to 
say,  and  then  go  on  comparing  this  with  other  works 
•oi  art  and  the  conditions  which  govern  it  and  them. 


The  original  edition  named  r.bove  contains  very  beau- 
tiful illustrations,  most  of  them  made  from  the  author's 
own  drawings,  which  maybe  trustt-d  as  faithful  inter- 
pretations. One  or  two  colored  plates  are  peculiarly- 
valuable  as  giving  what  is  not  generally  attainable. 
These  plates  are  entirely  omitted  from  the  cheaper  re- 
cent editions,  and  even  the  text  wood-cuts  are  not  given 
in  all  of  them.  In  fact,  the  book  as  prepared  for  the 
market  to-day  (1896),  is  rc-made  to  serve  as  an  inex- 
pensive ^ide  to  the  monuments  of  Venice,  for  which 
purpose  It  IS  of  but  little  value.  720.45 

Examples  of  the  Architecture  of  Venice. 
15  pi.  and  text.     Lond.,  Geo.  Allen,  42s. 

Was  intended  to  form  a  series  of  large  illustrations, 
plates  in  Imperial  folio,  of  the  "  Stones  of  V^enicc."  It 
was  proposed  to  issue  twelve  parts,  but  only  one  was 
ever  published,  namely,  in  1851,  by  Smith,  Elder  &  Co. 
The  edition  published  by  Mr.  Allen  is  a  reissue.  The 
plates  are  very  interesting  and  valuable;  a  few  of  them 
give  what  no  photograph  will  give.  720.45 

Sabine,  Henri. 

Takle  Anai.ytique  et  SVXTIIETIOrE  DV  Dic- 

TIONNAIRE     RaISONNE     DE     I,' AkCHITECTIRE 

Fran(;ais  ni*  XI.  au  XVI.  Sikct.e  par  E.  E. 

Vioi.LET-LE-Dfc.     Paris,  Librairie  des  Im- 

primeries  R^unies,  iSSg,  20  fr. 

An  index  to  Vio.let-le-Duc's  great  work,  which 
every  student  should  possess,  although  it  is  far  from 
perfect.  The  index  ir  the  tenth  volume  of  the  work  it- 
self is  entirely  confined  to  the  monuments  arranged 
under  their  geographical  heads.  720.3 

Salzenberg,  W. 

Alt-Christliche   Batdenkmale  von    Con- 

STANTINOPEL  VOM  V.  HIS  XII.  JaHRHVNDERT. 

im  Anhange  des  Silenliarius  Paulus  ;  Be- 
schreibung  der  heiligen  Sophia  und  des  Am- 
bon. Ubersetzt  von  Dr.  C.  W.  Kortiim.  Ber- 
lin. Ernst  &  Sohn,  190  marks. 

This  book,  though  large,  and  apparently  limited  in 
subject,  is  important  to  every  student  as  giving  the 
best  information  obtainableconcerning  the  finest  church 
in  the  world— which  might  easily  be  maintained  to  be 
the  most  important  buildin^  as  well.  The  book  by 
Lethaby  and  Swainson,  cited  above,  refers  continually 
to  this  work  for  its  illustration.  In  addition  to  Sancta 
Sophia,  some  of  the  smaller  Byzantine  churches  of  Con 
stantinople  are  given  with  sufficient  fulness,  and  there 
are  large  colored  plates  of  mosaic  and  other  important 
specimens  of  Byzantine  art,  720.496 

Schuyler,  Montgomery. 

American    Architecti'Re.      lllus.      N.    Y., 
Harper.  1S92.  $2.50. 

A  very  handsome  octavo  and  makes  a  good  gift- 
book.  The  si.x  essays  which  it  contains  are  not  con- 
nected except  as  their  subjects  are  similar.  The  diffi- 
culty in  treating  these  subjects  is  great,  because  there 
is  so  little  of  the  architecture  which  is  worthy  of  much 
praise  or  which  can  excite  sympathy 

Mr.  Schuyler's  criticism  is  characterized  by  remark- 
able good  sense  and  singular  insight.  Like  most  wri- 
ters on  architecture  he  is  much  out  of  sympathy  with  the 
strong  tendency  visible  among  the  practising  archi- 
tects toward  an  architecture  of  mere  Roman  order  like 
that  taught  in  the  Schools.  This  sound  and  wholesome 
book  IS  very  stimulating  to  thought.  720.73 

Scott,  Si}-  Gilbert. 
Rise  and  Development  of  Medieval  Ar- 
chitecture,    lllus.     Lond.,  John  Murray, 

1S79,  2  v.,  42s. 

A  very  valuable  book,  marred  by  the  disconnected 
character  difficult  to  avoid  in  a  volume  of  lectures, 
but  full  of  material  hard  to  find  elsewhere  and,  per- 
haps, impossible  to  find  in  such  intelligible  and  com- 
pact form.  In  the  single  important  subject  ol  the 
essential  characteristic  01  Gothic  architecture,  it  is  in- 
ferior to  the  book  by  C.  H.  Moore,  but  it  covers  a  much 
wider  held  and  is  written  from  the  point  ol  view  of  the 
practised  designer  and  superintendent  of  many  im- 
portant buildings.  723 

Smith,  T.  R.,  und  Poynter,  E.  J. 
Architecture,    Gothic    and    Renaissance. 


46 


AtchitectHrc  and  Landscape   Gardening. 


(Art   handbooks   series.)     N.   Y.,  Scribner, 

$2. 

Not  inaccurate,  nor  hard  to  understand,  but  vague, 
discursive;  fails  to  give  clear  and  connected  ideas.  It 
fails  also  to  insist  on  the  most  important  points.  The 
smaller  part,  devoted  to  the  Renaissance,  is  more  nearly 
accurate  than  that  given  to  the  Gothic.  There  is  a 
short  glossary  of  technical  terms.  723 

Smith,  T.  R.J  utui  Slater,  John. 

ARCHITECTrRE,  CLASSICAL  AND  EaRLY  CHRIS- 
TIAN. (Art  handbooks  series.)  N.  Y., 
Scribner,  $2. 

Contains  an  account  of  ancient  architecture  in  Egypt, 
Western  Asia —  Assyria,  Eastern  Asia,  Greece,  the 
Greek  colonies  and  the  Roman  Empire  ;  also  of  Byzan- 
tine, Romanesque,  and  Mohammedan  architecture.  A 
^ood  general  idea  can  be  obtained  from  it,  but  there  is 
m  it  no  sign  of  intimate  acquaintance  with  the  remains 
described  or  with  the  best  founded  conclusions  of  mod- 
ern archaeologists.  Thus  the  Roman  buildings  are  said 
to  be  of  brick,  which  is  the  superficial  and  popular 
view  ;  the  wall  being  really  of  small  stones  laid  in  mor- 
tar and  only  faced  with  fine  hard  bricks.  So  the  ques- 
tion of  Grecian  Doric  temples  is  treated  as  if  they  were 
all  like  the  Parthenon  in  general  scheme  and  in  material. 
There  is  a  brief  glossary  of  technical  terms.  Some  of 
the  illustrations  are  very  good.  722 

Statham,  H.  Heathcote. 

Architecture  for  General  Readers.  Illus. 
N.  Y.,  Scribner,  %2. 

Treats  the  essential  truths  of  architecture  in  the 
order  of  the  subjects  and  not  historically  e.\cept  in  a 
secondary  sense.  Trabeated  architecture  is  distin- 
guished from  that  which  is  arcuated  ;  a  chapter  bemg 
devoted  to  each.  A  valuable  chapter  is  devoted  to 
architecture  in  relation  to  cities  and  landscapes.  There 
is  also  an  historical  sketch  occupying  120  pages.  The 
book  can  be  trusted  as  sound  and  intelligent  and  may 
be  of  great  use  to  a  person  inclined  to  study  the  sub- 
ject thoroughly.  ^        720. 7 

Street,  George  Edmund. 

Some  Account  of  Gothic  Architecture  in 
Spain.  2d  ed.  Lend.,  John  Murray,  1S69, 
30s. 

The  architecture  of  the  mediaeval  cathedrals  and 
churches  in  Spain  had  been  scarcely  studied  before  Mr. 
Street  made  his  journeys  and  published  this  book  as  the 
result  of  them.  He  isan  English  architect  wholly  de- 
voted to  the  Gothic  revival  and  the  builder  of  many 
important  buildings.  The  drawings  of  the  author  are 
valuable  and  the  numerous  detailed  plans  of  churches 
are  undoubtedly  trustworthy  as  being  the  work  of  a 
very  able  and  conscientious  man.  720.46 

Brick  and  Marble  in  the  Middle  Ages. 
2d  ed.     Lond.,  John  Murray,  1874,  26s. 

See  what  is  said  of  this  author  under  his  work  on 
the  architecture  of  Spain.  The  present  work,  first 
published  in  1855,  describes  the  Gothic  architecture  of 
North  Italy,  especially  that  which  is  carried  out  in 
brick  with  marble  freely  used  in  the  composition.  The 
book  is  far  less  thorough  than  the  one  devoted  to 
Spain  ;  it  shows  but  little  sense  of  the  true  character  of 
Gothic  architecture  or  the  Italian  peculiarities,  but  the 
Lxierior  aspect  of  the  buildings  is  well  described,  and 
the  drawings  are  valuable.  Street  was  only  thirty 
years  old  at  the  time  of  the  Italian  journey;  he  was 
ten  years  older  when  the  book  on  Spain  appeared. 

720.45 
Sturgis,  Russell. 
European  Architecture;  a  Historical  Study. 

Illus.     N.  Y.,  Macmillan,  1896.  $4. 

"  The  essence  of  this  book  is  a  minute  study  of  the 
inonuments  themselves,  with  no  other  reference  to 
documents  than  is  sufficient  to  fi.x  their  dates,  or  in  the 
case  of  those  monuments  that  have  nearly  perished,  to 
the  minute  investigations  of  archtcologists  by  means 
of  measurements  and  comparisons  made  on  the  spot. 
The  distinction  is  clearly  maintained  between  those 
inonuments  which  e.xist,  although,  perhaps,  in  a  some- 
what ruined  or  altered  condition,  and  those  which  have 
practically  perished  and  which  have  to  be  reconstruct- 
ed by  mental  processes.  The  historical  record  tegins 
with  Doric  temples  of  the  VI.  century  b.c.  down  to 
the  French  Revolution.  The  whole  is  then  divided 
chronologically  into  nine  chapters,  thus:  Chapter  5 
deals  with  the  architecture  of  Western  Europe  from 


1150  to  1300  A. D.,  Chapter  8  deals  with  the  architecture 
of  Western  Europe  from  1520  to  1665  a.d.,  etc.,  each  of 
these  later  chapters,  that  is,  from  1150  to  the  close,  is 
then  subdivided  into  five  sections,  as  follows:  France, 
Provinces  north  and  south  of  France,  Germany,  Eng- 
land, \\.3i[Y.''—Pudiiskers'   H'eek/y.  720.40 

Lack  of  Originality  ix  Architecture  ;  a 
paper  in  the  Engineering  Magazine,  N.  Y., 
Vol.  VI.,  p.  II  (October,  1S93). 

This  brief  paper  is  an  attempt  to  show  that  the  pov- 
erty and  feebleness  of  modern  architectural  fine  art  is 
sufficiently  accounted  for  by  the  way  in  which  the  ar- 
chitectural profession  is  conducted.  The  architect 
being  paid  by  a  percentage  on  the  cost,  and  the  build- 
ings being  needed  in  great  haste,  that  there  may  be  no 
loss  by  money  lying  idle,  the  tendency  is  toward  mak- 
ing the  architect  a  mere  fiduciary  agent. 

Article  Grecian  Architecture,  Johnson's 
Universal  Cyclopaedia,  ed,  1893-5. 

Article  House,  Johnson's  Universal  Cyclo- 
psedia,  ed.  1893-5. 

The  City  House  in  the  East  and  South. 
In  "  Homes  in  City  and  Country."  N.  Y., 
Scribner,  1893. 

This  paper,  the  first  in  the  volume  mentioned,  is 
especially  aimed  at  describing  the  arrangements  and 
plans  of  the  houses  built  before  1850,  but  gives  a  few 
instances  of  later  buildings  as  specimens  of  what  was 
being  done  in  New  York  between  1880  and  1890.  Should 
be  read  m  connection  with  Mr.  Mitchell  on  the  "  Country 
House  "  in  the  same  book. 

Texier,  Charles,  <7;7</Pullan,  R.  Popplewell. 

L'Architecture  Byzantine,  ou  Recueil  des 
Monuments  des  premiers  temps  du  Chris- 
tianisme  en  Orient,  precede  de  recherches 
Historiques  et  Archeologiques. 

Byzantine   Architecture,   or  collection   of 
the  buildings  of  the  earliest  times  of  Chris- 
tianity in  the  East  ;  preceded  by  historical 
and   archaeological    investigations.      Lend., 
Day  &  Son,  \%t:^,£^  6s.     Out  of  print. 
This  book,  published   in   London  both   in   French 
and  in  English,  is  valuable  as  a  collection  of  buildings 
not  otherwise  very  accessible  to  the  student.     Inaccu- 
racies in  other  works  by  these  authors  has  caused  the 
present  one  to  be  regarded   with  suspicion,  but  the 
buildings  treated  of  in  this  book  exist  in  the  form  in 
which  they  are  here  portrayed,  and  are  not  the  subjects 
of  such  restoration  as  was  found  inaccurately  described 
in  other  cases.  723.2 

Thomas,  F.  Inigo,  and  Blomfield,  Reginald. 

The  Formal  Garden  in  England.  See 
Blomfield. 

Turner,  T.  H. 

Domestic  Architecture  in  England  from 
the  Conquest  to  the  End  of  the  Thir- 
teenth Century.     Oxford,  1S53.     Out  of 
print. 
The  first  of  a  series  (see  Parker  and  Turner,  also 

Parker,  John  Henry).  720.42 

Vachon,  Marius. 

Philibert  de  L'Orme.     (L.A.C.)     Paris,  Li- 

brairie  de  I'Art,  1S87.  5  fr. 

This  great  and  original  architect  was  one  of  the 
chief  men  of  the  French  Renaissance  which  was  nearly 
a  century  later  than  the  Italian  movement  called  by 
that  name. 

A  valuable  and  interesting  biography,  with  illustra- 
tions much  to  the  purpose  and  valuable  in  themselves. 

720.44 
Van  Brunt,  Henry. 

Greek   Lines    and   Other    Architectural 

Essays.     Host.,  Houghton,  1S93,  $1.50. 

The  work  of  a  practising  architect,  formerly  of  Bos- 
ton, now  settled  in  the  West,  and  who  is  yet  a  seeker 
for  the  spiritual  or  esoteric  meaning  in  every  work  of 


Architecture  and  Landscape  Gardening. 


47 


art.  In  one  important  respect  his  criticism  differs  from 
that  of  most  critical  writers  of  tine  art,  namely,  that  he 
finds  far  more  that  is  good  in  modern  architectural 
work  than  they.  720.4 

Van  Rensselaer,  Mrs.  Schuyler. 

Art   OiT  OK  Doous.     N.  Y.,  Scribner,  1S93, 
Si. 50. 

An  interesting  essay  on  the  beautifying  of  country 
places,  village  streets,  etc. 

Viollet-le-Duc,  E,  E. 

Entretiens  sur  L' Architecture.     Transl. 
by  H.  Bucknall  as  Discourses  on  Archi- 
TECTTRE.      Lond..  Sampson   Low,  2  v.,  63s. 
There  is  nowhere  a  more  masterly  treatise  on  archi- 
tectural art.     Its  inmost  secrets  are  known  to  this  able 
writer,  who  sees  what  is  strong  and  what  is  weak  in 
every  style,  and  makes  it  clear  to  his  readers.     He  is 
also  a  master  of  explanatory  and  descriptive  drawing. 
No  other  such  illustrations  of  architectural  subjects  as 
those  in  his  books  are  known.     An  edition  of  this  work, 
published  by  Ticknor,  Boston,  1881,  $15,  is  out  of  print. 

720 

DlCTIONNAIRE    RaISONN^    DE  L' ARCHITECTURE 

Fran^ais  du  XI.  AtT  XVI.  SifccLE.     Paris, 

A.  Morel  &  Cie..  1S6S,  10  v.,  250  fr. 

Of  this  great  and  useful  book  only  a  small  part 
has  been  translated  ;  namely,  in  book  form,  the  article 
on  construction,  for  which  see  un-ler  Huss.  Of  the 
ten  volumes  one  is  devoted  to  a  table  (see  under  Sa- 
bine), and  the  other  nine  are  occupied  by  an  encyclo- 
paedia of  French  mediaeval  art  arranged  in  dictionary 
form;  for  which,  however,  the  tables  are  needed,  as 
many  of  the  articles  are  very  long,  and  require  refer- 
ence tables  as  much  as  books  do. 

The  author  is  in  many  ways  a  unique  person- 
age. He  was  an  a'-chitect  employed  on  the  restoration 
01  many  of  the  most  important  ancient  buildings  in 
France ;  he  had  thus  unusual  opportunity  of  ascer- 
taining the  minutest  details  of  their  original  construc- 
tion. He  was  also  the  son  of  an  enthusiastic  student 
and  collector  of  mediaeval  manuscripts  and  other  docu- 
ments; he  had  himself  a  gift  at  drawing  which  has 
never  been  equalled  in  its  way.  Hisdrawings,  whether 
large  or  small,  highly  finished  or  slight,  are  always 
faultless  as  means  v>i  explanation  of  his  meaning.  They 
were  made  with  great  speed  ;  it  is  supposed  that  of  the 
thousands  of  illustrations  in  this  book,  all,  or  all  except 
some  plans  and  diagrams,  were  drawn  by  his  own  hand. 
Inasmuch  as  France  is  the  country  in  which  Gothic  art 
took  its  origin  in  the  XII.  centur>',  developing  itself 
out  of  a  school  of  the  Romanesque  at  least  equal  to 
that  of  any  other  land,  it  follows  that  the  history  of 
mediaeval  art  is  well  impressed  upon  the  student  by  the 
study  of  this  book,  combined  with  reference  to  such 
other  books  as  treat  of  the  art  of  special  countries  of 
Europe.  720,3 

HiSTOiRE  d'une   Maison.       Paris.   J.    Hetzel 
&  Cie.,  6fr. 

A  popular  book  in  which  the  method  of  planning 
and  building  a  house  in  France  is  given  in  a  way  easy 


HisToiRE  d'ux  Hotel  de  Ville  et  d'une 
Cath^drale.    Paris.  J.  Hetzel  &  Cie.,  10  fr. 

The  cathedral  and  the  town  hall  nf  a  provincial 
French  place  of  a  few  thousand  inhabitants  are  made 
the  subject  of  an  interesting  narrative  dealing  with  the 
times  from  the  Gallo-Roman  rule  to  the  Revolution. 
The  buildings  themselves  are  kept  as  the  centre  of  the 
narrative,  but  the  history  deals  with  the  violence  and 
tyranny  of  the  feudal  period,  the  religious  wars  and 
the  pacification  under  the  absolute  monarchy  beginning 
with  Henry  IV.  Every  student  should  study  this  for 
the  close  connection  it  shows  between  the  popular  life 
of  the  Middle  Ages  and  the  buildings  which  grew  out 
nf  it ;  buildings  erected  in  a  traditional  way  familiar  to 
the  mechanics  of  the  time  and  not  the  work  of  archi- 
tects producing  designs  in  the  tranquillity  of  the  office. 

725 
WUlis,  Rev.  R. 

Architectural  Hlstorv  of  Canterbury 
Cathedral.  Lond.,  Longmans,  1S45,  los. 
6d.     Out  of  print. 

This  little  book  retains  its  critical  value  and  has  been 
for  50  years  the  type  of  small  architectural  monographs. 
The  author  is  considered  an  authority  on  the  subject  of 
Gothic  vaulting ;  but  see  what  is  said  under  the  next 
title.  723 

The  Construction  of  the  Vaults  of  the 
Middle  Ages.  [Vol.  L.  Part  H..  Transac- 
tions Royal  Institute  of  British  Architects, 
1S42.]  (This  part  can  sometimes  be  bought 
separately.) 

Professor  Willis  was  almost  the  first  writer  to  dis- 
tinguish critically  between  Gothic  rib-vaulting,  which 
is  the  very  essence  of  Gothic  construction,  aha  other 
kinds  of  vaulting.  Later  writers  have  carried  the 
analysis  much  farther,  but  this  essay  remains  of  great 
value  because  of  the  minute  record  it  contains  of  the 
author's  own  observations.  Some  valuable  illusira- 
tions. 

For  later  treatises  on  Gothic  Vaulting,  see  Viollet- 
le-Duc,  Moore,  C.  H.,  and  Sturgis,  Russell.  721.4 

Wolfflin,  H. 

Renaissance  und  Barock.  Eine  Untersuch- 
ung  iiber  Wesen  und  Entstehung  des  Ba- 
rockstils  in  Italien.  Munich,  Ackermann, 
iSSS.  4  marks. 

Most  works  on  the  Renaissance,  whether  Italian  or 
of  the  northern  nations,  stop  with  the  complete  develop- 
ment of  the  neo-classic  art  near  the  close  of  the  XV. 
century,  or  with  the  beginning  of  what  is  called  the 
decline.  This  book  is  valuable  because  continuing  the 
discussion  along  the  unbroken  series  to  much  later 
times.  724.1 


PART    IV. 

MINOR    DECORATIVE  ARTS.   COSTUME,   EMBROIDERY,   GLASS    INLAY    AND 

MOSAIC,    LEATHER   WORK,    METAL   WORK,   POTTERY    AND 

PORCELAIN.  TEXTILE   FABRICS. 


These  arls.  called  also  the  subsidiary  arts  and 
by  other  similar  names,  differ  from  architecture 
only  in  the  comparatively  small  size  and  cost 
and  comparatively  small  importance  to  man- 
kind of  the  objects  which  belong  to  them.  It 
must  be  noted  that  the  essence  of  decorative 
art  is  that  it  adorns  some  object  which  is  neces- 
sary and  useful  in  a  practical  way,  Thus  a  lit- 
tle independent  figure  in  bronze  is  sculpture  , 
but  the  pommel  of  a  sword  worked  into  a  simi- 
lar figure  is  decoration  as  well  as  sculpture. 
and  the  whole  sword-hilt  so  adorned  is  a  single 
work  of  decorative  art.  Buildings  do  not  differ 
from  weapons  or  furniture  in  this  respect. 

Manuscripts  with  rich  decoration  are  properly 
included  here  because  the  miniatures  and  even 
the  full-page  pictures  contained  in  them  are  sub- 
servient to  decorative  purposes  which,  in  this 
case,  is  that  of  making  the  writing  itself  orna- 
mental, 

Carvings  in  ivory  are  included  here  because 
in  most  cases  they  are  subservient  to  the  dec- 
orative purpose  of  book-covers,  the  backs  of 
mirrors,  consular  diptychs  and  the  like. 


On  the  other  hand,  coins,  though  they  are 
necessary  objects  adorned  by  art.  are  almost 
entirely  works  of  pure  sculpture  in  the  manner 
of  their  conception  by  the  artist  ,  this  is  even 
more  decidedly  true  of  engraved  gems,  whether 
cameo  or  intaglio,  for  although  the  intaglio  is 
primarily  intended  as  a  seal,  yet  the  artistic 
design  is  the  whole  thing  and  is  not  part  of 
the  ornamentation  of  an  object  to  which  it  is 
added. 

Monumental  brasses  it  is  difficult  to  place, 
but  it  has  seemed  better  to  keep  them  with  the 
other  kind  of  art  named  above  in  Part  II. 

During  the  past  forty  years  the  literature  of 
these  arts  has  grown  to  enormous  proportions. 
Few  of  the  good  books  are  in  English  and  still 
fewer  are  inexpensive.  The  selection  here 
given  is  of  books  which  are  essentially  artistic. 
Thus  in  costume,  Fairholt  s  '  Costume  in  Eng- 
land '  [(Bohn)  N,  Y.,  Macmillan  2  vols..  $3], 
and  Planche's  'History  of  British  Costume" 
in  2  quarto  vols.,  and  also  [(Bohn)  N.  Y..  Mac- 
millan, $1.50],  are  valuable  historically,  but  are 
not  studies  of  decorative  art. 


Alexandre,  Arsene. 

Jeax  Carries,   imagier   f.t   potier  :    Etude 
dune  oeuvre  et  d'une  vie.     Paris.  Quantin, 

iSqs,  25  fr. 

See  Part  II.  Carries  was  excellent  as  a  decorative 
potter  ;  he  was  much  greater  as  a  sculptor.  738 

Alford,  Lady  Marian. 

Needlework  as  Art.     Lond.,  Sampson  Low 

&  Co.,  18S6,  21S. 

A  carefully  made  book,  fully  and  well  illustrated. 
Mainly  historical.  The  account  of  English  embroidery 
of  different  schools  is  extremely  valuable.  Compare 
the  book  by  Caulfeild  and  Saward.  746 

Armstrong,  Walter. 

Alfred     Stevens  :     a    biographical     study. 

Paris.  Librairie  de  I'.^rt.  iSSl.  15  fr. 

See  Part  II,  Stevens  was  chiefly  known  as  a  dec- 
orative designer,  but  his  work  on  the  Wellington  Mon- 
ument entitles  him  to  rank  high  as  a  sculptor.         730 

Salfour,  Henry. 

Evni.t'TiON    OF    Decorative    .•\rt.       N.    Y., 

Macmillan,  1S93,  $1.25. 

An  interesting  and  suggestive  account  of  very 
primitive  forms  of  ornament,  both  prehistoric  and 
among  savages  of  our  own  lime.  Careful  reading  of 
this  book  throws  a  good  deal  of  light  on  many  prob- 
lems of  fine  art.  740 


Barber,  Edwin  Atlee. 

Pottery  and  Porcelain  of  thf,  LInited 
States,  IIIus.  N.  Y.,  Putnam,  1893,  $5. 
There  is  naturally  but  liule  artistic  pottery  made  m 
America,  but  there  are  a  few  old  wares  that  are  attrac- 
tive, and  two  or  three  modern  establishments  have 
produced  decorative  pieces  as  good,  perhaps,  as  modern 
industrial  conditions  allow.  The  present  work  repro- 
duces in  photography  a  great  number  of  pieces,  and  al- 
though the  true  elrect  ot  the  painted  vase  is  not  easy  to 
render  in  photography,  even  apart  from  its  coloring, 
such  pictures  still  have  value  for  reference.  The  text 
IS,  of  course,  mainly  historical  73S 

Benson,  W.  A.  S. 

Elements  of  Handicraft  and  Design.  II- 
Ius. N.  Y..  Macmillan,  $1.60. 
Intended  for  school  workshops,  but  its  directions  for 
simple  carpenter  work  and  the  making  of  book-shelves 
and  tables  are  excellent,  and  are  illustrated  with  9+ 
drawings.  The  soundest  principles  of  design  are  ex- 
plained in  simple  language  and  well  enforced.  This 
part  of  the  book  is  important,  because  there  is  a  strong 
tendency  in  our  times  towards  mere  taking  of  designs 
from  old  works.  This  shows  how  designs  are  made, 
originally.  The  final  chapter  gives  good  general  ideai 
as  to  coloring,  and  a  long  bibliography  is  added.     740 

Birch,  Samuel. 

History  of  Ancient   Pottery,   Egyptian, 
Assyrian,  Greek,  Etruscan,  and  Roman. 
Lond..  John  Murray,  1S73,  42s. 
A  standard  of  reference,  although  newer  books  con- 
lain  much  not  given  m  11.     See  .\.  S,  Murray  and  Lau, 

738 


Minor  Decorative  Arts, 


49 


Birdwood,  Sir  George  C.  M. 

Inihstkiai.   Aiiis   or   Imha.       Lond..    Chap 
man  iS:  Hall.  iSSo   2  v  ,  14s. 

Not  very  thorough  Re(aie>  ralher  lo  the  modern 
and  degenerate  an  ot  India  than  10  its  hner  develop- 
mcnis  m  the  past  Theie  is  huwevef,  much  o(  the 
ori|;inai  spirit  leU  in  Indian  decoration  Petson'i 
brought  up  in  European  habits  0I  ihouelii  cannot  learn 
i"0  much  of  that  instinctive  ornamentation  such  as 
Europe  also  possessed  down  to  the  XVI  century,  bui 
has  now  a'mosi  wholly  lost  609 

Blanc,  Charles. 

Grammaikf,  des   Arts  D^coratifs  :   decora- 
tion mierieure  de   la   Maison.      Paris,  Lau- 
rens. 13  fr. 
See  what  is  said  about  the  same  author  s  '  Gram 

maire  des  Aits  du  Dessin.     m  Part  I  740 

Bonnard,  Camille 

Costumes  msTORiofEs  des  i2'^-i5^  st?:cles 
lir^s  des  monuments  ies  plus  authentiques 
de  peinlure  et  de  sculpture,  dessin^s  et 
gravfes  par  P.  Mercuri.  Nouv.  edition  avec 
une  Introduction  par  C  Blanc  Paris,  Levy 
filS;  1S60-61    3  V  .  250  fr 

Probably  the  most  artistic  o(  books  on  costume. 
Gives  a  great  deal  ot  attennon  lo  ihe  costumesot  Italy 

Boutell,  Charles. 

Arms  and  Armoi-r  i\  Antioi'ITY  and  the 
Middle  Ages,  also  a  descriptive  notice  of 
modern  weapons.  Lond..  Reeves  &  Tur- 
ner. 1S74.      Out  of  print. 

Made  up  Irom  '  Armeset  Armures,'  by  P.  Lacombe, 
(Pans.  Hacheite.  fr  2.2s)  The  original  work  contains 
many  errors,  some  o(  an  inexcusable  character  Mr 
Boutell  s  pretace  e.vplains  the  necessity  he  has  fell  of 
recasting  the  book  entirely  while  yei  he  has  not  wholly 
avoided  the  errors  of  the  original,  as  in  fig  29,  where 
a  suit  of  armor  is  dated  at  least  a  century  loo  early 
Mr  Boutell  is  a  writer  on  heraldry  and  a  mediaeval 
archaeologist  of  considerable  reputation.  While  this 
book  IS  not  as  full  as  Demmin's  book  nor  above  suspi- 
cion as  to  accuracy  m  detail,  it  is  still  useful,  399 

Burty,  Philippe. 

Bernard  Palissv.     (L.A.C.)    Paris,  Librairie 

de  I'Art.  1S86.  5  fr. 

As  a  decorative  artist,  Paltssy  has  been  greatly  over- 
rated, but  the  lomantic  legends  that  hang  about  his 
name  and  the  enormous  prices  which  his  authentic 
works  bring  at  auction,  give  him  a  somewhat  factitious 
renown.  738 

Caulfeild,  S.  F.  A.,  and  Saward,  B.  C. 

DicnoNARY    OF    Nkeih.ework.       Lend..    L. 

Upcott  Gill.  1SS5,  21S.     With  colored  plates, 

31S.  6d. 

Almost  as  fully  devoted  lo  practical  considerations 
and  to  teaching  the  art  as  Lady  Alford's  book  is  to  his- 
tory No  book  of  advice  and  instruction  will  seem 
wholly  adequate  to  those  who  try  to  learn  from  it,  but 
this  one  IS  believed  to  be  thorough  and  careful  and  is 
certainly  very  full.  Many  illustrations,  well  adapted 
to  their  purpose.  746 

Se  ChampeauX]  Alfred. 

Le  Meuble.  XVII..  XVIIL.  et  XIX.  Si^cles. 
(B.E.B.A.)     Paris.  Quantin.  2  v.,  to  fr. 

These  two  volumes  treat  the  subject  in  proportion 
to  the  number  of  examples  that  exist  rather  than  the 
importance  of  the  eprchs  considered.  Thus,  40  pages 
sutTice  for  all  that  tie  writer  has  to  offer  concern- 
ing the  furniture  of  Egyplian,  Syrian,  Greek,  Roman, 
and  Bvzantine  antiquity  The  art  of  the  Middle  Ages 
occupies  80  pages,  the  art  of  the  Renaissance  1 50  pages 
more,  and  the  whole  second  volume  is  devoted  to  the 
XVIi.  and  XVIU.  centuries.  It  is  therefore  much 
more  to  one  who  studies  furniture  as  a  matter  of  prac- 
tical design,  than  to  the  archicologicai  student  of  the 
subject,  that  these  volumes  appeaH  There  are  200  il- 
lustrations, very  expressive  and  spirited  ;  the  text  is 
written  with  great  intelligence  and  thorough  knowl- 
edge c£  the  subject  in  all  its  branches.  645 


Deck,  Theodore. 

La    FviKNfK.       (H.E.M..A.)      Paris.    Quantin. 

1S87.  5  fr. 

Mr  Deck  is  the  well-known  founder  of  a  ereai  estab- 
lishment tor  the  i>roduction  ol  decorative  pottery  ,  he 
has  written  with  the  knowledge  ot  an  expert  but  atso 
without  much  pfiwer  of  impailing  his  knowledge  to  (he 
student  who  is  not  himsell  a  ceramist  The  book  is 
rather  a  collection  ol  recipes  (or  the  manufacture  o( 
decorative  poiiery  ihan  a  popular  essay  on  the  subiect 
There  is,  however,  an  historical  ess,iy  which  the  author 
states  IS  mainly  a  compilation  from  other  writeis  The 
chief  value  o:  the  book  10  most  pet  sons  will  be  ilie  loni; 
series  ol  illustrations,  most  of  which  will  haidiy  he 
found  in  other  books  Those  which  represent  modern 
productions  of  Mr.  Deck  s  own  factory  are  especially 
worthy  ol  note.  738 

Demay,  Jean  Germain. 

Lk      CnSllMK      AC       MoVKX-.UlE      d'aPRiVs      I.ES 

scEAix.      Paris    Dumoulin,   iSSo    20  fr. 

DevoleH  to  a  study  of  dress  and  insignia,  chiefly 
mediaeval,  taken  from  the  valuable  seals  appended  to 
ancient  documents  or  discovered  in  recent  researches 
Compare  what  is  said  of  the  whole  subject  of  seals 
under  Lecoy  de  la  Marche  and  Middleton  in  Part  11 
In  the  study  ot  costume  these  small  bas-rchcfs  or  in- 
taglios are  extremely  \a'uable  as  being  wholly  trust- 
worthy. As  exemplifying  ihe  art  of  sculpture  in  the 
Middle  Ages  they  are  important  as  being  wholly  free 
from  restoration  and  as  showing  another  side  o(  the 
same  great  an  which  has  adorned  the  cathedrals.   390 


Demmin,  Augusto. 

Die  Kriegswafken  in  ihrer  Historisciien 
Entwickell'm;  von  dfn  Ai.testen  Zkiten 
]{is  Ai'F  DIE  Gf.(;en\var  r.  Leipzig.  Friesen- 
hahn.  1891  10  marks.  GfiDE  DES  Ama- 
tei:rs  d'Armes  et  Armi'Res  anciknnes. 
2'"^  cd.  Paris  Laurens,  \U  fr.  Transl  by 
C.  C.  Black  as  Arms  and  Armovr.  (Hohn) 
N.  Y,.  Macmillan.  S2.25. 

The  best  small  book  on  ancient  arms  and  armor 
The  author  a  German  by  birlh.  but  a  Frenchman  by 
residence  for  many  years  brought  out  this  book  in 
French  and  German  at  the  same  tune:  the  (ierman  edi 
tion  IS  named  first  because  the  latest  and  fullcsl  which 
has  come  to  the  writer's  notice.  The  illustrations  are 
slight  sketches,  extremely  informal,  and  the  reveise  of 
decorative,  but  accurate  in  the  way  of  fixing  the  im- 
portant lines  and  ol  insisting  upon  construction.     399 

Du  Sartel,  Octave. 

La  Porcelaink  de  Chine.  Paris.  Morel  tt 
Cie..  i3S2.  2{x)  fr. 

This  splendid  decorative  art  is  so  many-sided,  and 
covers  so  large  an  epoch  chronologically .  as  well  as  so 
many  towns  and  so  many  semi-independent  provinces, 
that  no  one  book  can  hope  to  exhaust  the  subject.  The 
32  plates  of  this  book  are  mostly  in  color  and  are  all 
good  ot  their  kind,  but  they  cannot  show  more  than 
a  few  varieties  There  are  also  120  very  well-drawn 
figures  in  the  text.  Compare  the  book  described  under 
Grandidier  and  the  handbook  ot  Mr  Pal^ologue.     73S 

Evans,  Maria  Millington  (Lady  Evans). 

CuAi'TKKs  ON  Greek   Dress.      Illus.     N.   Y., 

Macmillan,  1S93.  S2. 

Of  general  value  as  containing  an  analysii  of  the 
most  simple  and  beautiful  costume  known  t«)  us,  that 
of  the  ancient  Greeks  ;  and  also  as  being  a  key  to  that 
important  part  of  sculpture  and  painting  which  we  call 
drapery,  which  with  European  artists  is  founded  on 
Greek  examples.  301 

Indlstrial  Arts.  The-  Historicai,  Sketch- 
es: (One  of  the  Art    Handbooks  of  South 
Kensington    Museum).       Lond.,    Chapman 
lS:  llall,  3s.     Out  of  print. 
,-\  good  general  account  of  the  ornamental  arts  as 

represented  in  museums.  009 

Fletcher,  William  Y. 

BooKiii.NDiNi;  IN  En(;i,a.nd  AND  France.    Illus. 


5° 


Minor  Decorative  Arts. 


Lond..   Seeley   &   Co       N.   Y..   Macmillan, 
1S96.  $3,50, 

The  study  of  French  bookbindiiiEr  formed  a  Port- 
folio Monograph  for  Oct..  1894.  That  on  English  book- 
bindingr  is  of  the  form  of  such  a  Portfolio  number,  but 
has  not  yet  appeared  m  that  series.  Oneobiect  in  nam- 
ing this  book  IS  to  call  attention  to  the  17  splendid  col 
ored  plates,  e.xampies  of  rhe  latest  and  most  valuable 
development  of  chromo-lithography.  There  are  also  a 
large  number  of  text  illustrations,  fairly  good  half-tone 
prints.  Bookbinding  in  its  highest  development  is  a 
decorative  art  of  peculiar  and  unique  interest,  althoiJgh 
in  general  one  gets  from  it  less  art  and  more  good 
mechanism  and  careful  finish  for  his  money  than  from 
most  decorative  industries.  France  has  always  taken 
the  lead  in  such  industries,  and  this  book  gives  a  good 
analysis  of  bookbinding  as  practised  in  France  from 
the  Middle  Ages  down  to  the  Revolution  The  sketch 
of  the  art  in  England  will  serve  as  a  good  introduction 
to  the  study  of  a  very  peculiar  and  characteristic  school 
ol  binders.  686 

Fortnum,  C  IDrury  E. 

Descriptive  Catalogue  of  the  Maiolica 
hispano-moresco.  persian  damascus. 
AND  Rhodian  Wares  in  South  Kensington 
Museum.  Lond  Chapman  &  Hall.  1S73 
2s.  6d. 

See  what  is  said  of  thr.  author's  work  on  European 
bronze.  Parr  11  In  this  book  the  introduction,  of  io3 
pages,  does  noi  pretend  to  be  a  complete  htstory  of  the 
important  classes  ol  pottery  described  in  the  catalogue 
It  is.  however,  an  excellent  description  of  them  with 
careful  discrimination  between  their  d-fferent  times  and 
with  shrewd  remarks  upon  their  characteristics  In  this 
book  as  in  the  bronze  book  the  catalogue  is  enriched 
by  descriptive  and  critical  notes  .  these  notes  are  so 
numerous  and  so  long  that  the  catalogue  of  what  is  not 
a  very  large  collection  is  extended  to  650  pages  The 
collection  is  fine  however  and  the  works  of  nearly  all 
schools  are  represented  it  it.  Twelve  colored  plates 
and  50  or  60  wood-cuts.  738 

Maiolica-  a  Historical  Treatise  on-the  Glazed 
and  Enamelled  Earthenwares  of  Italy  etc., 
also  some  notice  of  the  Persian.  Damascus 
Rhodian.  and  Hispano-Moresque  Wares 
Oxford.  Clarendon  Press.  N.  Y.,  Macmil- 
lan. iSg6    $13 

Not  in  any  sense  a  reissue  or  revised  edition  of  the 
same  author  s  book  devoted  to  the  South  Kensington 
Museum  collections  Contains  a  great  number  of  pho- 
tographic illustrations  and  will  undoubtedly  prove  the 
best  work  on  the  subiect  existing  The  different  kind 
of  pottery  treated  are  alike  in  that  they  are  made  of 
coarse  earthenware  covered  with  a  tine  opaque  enamel, 
which  in  Its  turn  is  decorated  with  color  and  with  what 
IS  called  metallic  lustre  They  are  the  most  splendid 
Oi  all  craraic  wares  738 

Foster,  J   E.,  and  Atkinsonj  T  D. 

Illustrated  Catalogue  of  the  Loan  Col- 
lection OF  Plate,  exhibited  in  the  Fitz- 
wilham  Museum  May  1S95.  lUus.  Cam- 
bridge. Deighton.  Bell  &  Co.  N.  Y  , 
Macmillan,  iSgO.  $6.50. 

A  small  quarto  of  132  p  and  16  photographic  plates. 
It  IS  chosen  out  o(  many  works  on  decorative  metal 
work,  because  li  'S  not  expensive,  the  photographs 
are  of  great  beauiy  and  gi\e  wet-  the  details  of  the  old 
plate,  tne  pieces  se'ected  for  such  illustration  are  of  a 
good  style  and  characteristic,  the  small  illustrations  in 
the  text  are  trustworthy  and  valuable  the  text  is  singu- 
larly critical  and  business-like  In  all  these  respects. 
but  especially  the  last  the  book  is  worthy  of  great 
praise  It  is  in  itself  a  va  uabie  introduction  to  the 
study  not  only  of  old  plate  but  also  of  decorative  art  in 
many  aspects.  736 

Gamier,  Edouard. 

DiCTIONNAIRE    DE    LA    CeRAMIQUE  :    FaTENCES- 

Gres-Poteries.     Paris    Librairie  de  I'Ari 

1S93    30  fr. 

This  fmall  book  is  devoted  almost  exclusively  lo  the 
curious  and  interesting  glazed  potteries  ot  the  XVH, 
and  XVin  centuries-  ol  such  admirable  varieties  as 
those  known  by  the  names  ot  Nevers,  Mousliers,  Rouen, 
Saint-Porchaire  (which  last  means  Henri  II.  ware), 
JMarseilles,  Deltt,  and  Douai.    The  English  -vares  of 


the  period  are  also  touched  upon  These  beautiful 
varieties  of  decorative  pottery  are  litile  studied  in 
America,  where  the  faste  is  generally  for  the  more  deli- 
cate and  more  costly  wares  There  are  a  number  of 
colored  plates,  but  cheaply  made,  as  the  whole  work  is 
inexpensive.  738 

Grandidier,  Ernest. 

La    Ceramujue    Chinoise.       Paris,     Firmin- 

Didot.  1S94   65  fr. 

See  above  under  Du  Sartel  The  present  work  con- 
tains 42  plates  m  black  and  white,  giving  180  pieces  of 
porcelain  in  admirable  photogravures  by  Dujardin 
The  author  of  this  book  is  a  great  collector,  and  all  the 
pieces  Hescribed  or  pictured  are  take:i  from  his  own 
cabinets. 

It  cannot  be  said  that  the  history  of  Oriental  porce- 
lain IS  thoroughly  known  to  Europeans  Year  by  year 
more  is  learned,  and  from  this  point  of  view  the  latest 
book  may  be  thought  the  best.  The  assertions  concern- 
ing dates,  places  of  manufacture,  and  the  significance 
of  emblems  and  the  like  are  always  open  to  revision. 

738 

Guiflfrey,  Jules. 

HisToiRE  i>e  la  Tapisserie  depuis  le  moyen 
age  jusqu'a  nos  jours.  Tours.  Alfred 
Mame.  18S4.  20  fr. 

A  larger  book  than  the  little  handbook  mentioned 
under  Muntz  on  he  same  subiect  A  large  octavo  of 
530  pages,  with  many  illustrations,  of  which  four  are 
cnromo-lithographs  of  excellent  execution.  The  sub 
iect  of  tapestry  recommends  itself  to  every  student  of 
decorative  art.  This  volume  is  very  trustworthy  and 
even  approaches  the  completeness  of  a  history  See 
a.so  Havard  and  the  handbook  by  Muntz.  746 

Havard,  Henry. 

Les  Arts  de  l'ameublement  :  La  Verrerie, 
avec  430  illustrations  par  B.  M6lin  Paris, 
Delagrave.  1S94.  fr.  2.50, 

One  of  the  series  of  books  on  the  fine  and  mdus'nal 
arts  used  in  the  way  of  furniture  and  decora  on  Mr 
Havard  turns  his  hands  to  many  branches  of  art  and 
IS  rather  a  compiler  than  an  original  workman  but  his 
books  are  sure  to  be  good  of  their  kind  ,  and  some  have 
been  excellent  Of  late  years  he  has  given  especial 
attention  to  decorative  art.  His  work  has  secured  high 
esteem  in  his  own  country  645 

La  Tapisserie,  90 illustrations  par  S.  Hugard. 

Paris-,  Delagrave    1S93.  fr.  2.50 

Compare  what  is  "^aid  of  the  art  of  tapestry  under 
Guiflfrey  Thisisanother  work  of  about  the  same  scope, 
and  perhaps  equally  serviceable  as  a  book  of  general 
reference  746 

Hildebrand,  Hans. 

LvDUSTRiAL  Arts  of  Scandinavia  in  the 
Pagan  Time.  Lend..  Chapman  cv:  Hall 
1SS3,  2s.  6d. 

There  IS  much  that  is  interesting  m  the  decorative 
art  of  the  early  northern  peoples.  These  arts  have  not 
had  great  influence  on  the  later  and  more  developed 
art  of  Europe  .  for  this  reason  they  are  worthyof  study 
by  those  who  are  interested  m  the  forgotten  and  worthy 
efforts  of  the  human  mind.  609 

Hottenroth,  Friedrich. 

Le  Costl^me,  les  armes.  ustensiles,  outils 

DES  PEUPLES  ANCIENS  ET  MODERNES.       2  Vols. 

in  I,      Paris.  Guerinet,  1S90.  70  fr. 
A  very  handy  history  of  costume,  many  e.xample';  be- 
ing grouped  on  each  page.  390 

Jaennicke,  Friedrich. 

Grundriss  l^er  Keramik  in  Bezug  auf  das 

KuNSTGEWERBE.       Eme     historische  ^   Dar- 

■  stellung  ihres  Entwickelungsganges  in  Eu- 

ropa,    dem  Orient  und  Ost-Asien  von  den 

aeltesten    Zeiten    bis    auf   die    Gegenwart, 

Stuttgart,  Paul  Neff.  1S79,  42  marks. 

A  large  octavo  of  nearly  1200  pages,  containing  450 

illustrations  besides  2645  marks  and  stamps.     Probably 

the  most  systematic  history  of  pottery  and  porcelain. 


Minor   Decorative  Arts. 


51 


SO  far  ai  least  as  concern--  ihe  wares  of  Europe  from 
ihc  medieval  epoch  lo  modern  times.  Antiquity  and 
the  Orient  receive  but  slight  notice  738 

liau,  Theodor. 

Die  Griechischex  Vasen.  ihre  Formen  i'nd 
Dpxorationssystem.     Leipzig,   E.   A.   Sec- 

mann,  1S77,  2  v.,  56  marks. 

This  small  folio,  with  44  plates  in  colors,  is  the  best 
book  from  which  to  get  a  knowledge  of  the  forms  and 
general  decoration  of  Greek  vases.  The  vessels,  of 
many  different  shapes,  are  shown  in  their  general  form, 
both  in  outline  and  color  ;  sections  of  them  are  given  to 
show  the  thickness  of  their  material,  and  the  painted 
patterns  and  figures  are  given  on  a  larger  scale.  In 
short,  it  is  a  handbook  of  ancient  ceramic  art,  for  the 
text  IS  simple  and  easy  of  reference  and  of  comprehen- 
sion. 738 

Lefebure,  Ernest. 

Broderies  et  Dentelles.  (B.E.B.A.)    Paris. 

Quantin.   5  fr.     Transl.  by  A.  S.    Cole   as 

Embroidery  and  Lace.  Phila.,  Lippincott, 

iSSS,  $3.50.  746 

lethaby,  W.  R. 

Le.-vd  Work:  Old  and  Ornamental  and  k<")R 

THE    MOST     TART     ENGLISH.        Illus.       X       V    , 

Macmillan,  1S93,  $1-25. 

Lead  work  has  been  an  important  branch  of  decora 
tive  architecture,  American  roof-tittmgs  in  tin  and 
copper  give  no  idea  of  the  truly  ornamental  uses  to 
which  lead  has  been  applied  m  Europe  for  seven  cen 
tunes.  Some  attempt  is  being  made  in  these  days  to 
revive  the  ancient  art,  and  upon  this,  and  upon  the 
am  ent  pi-actice,  this  is  an  excellent  essay.  695.4 

liilley,  A.  E.  V.,  (?;?./ Midgley,  W, 

Studies   in   Plant  Form,   with  Some  Sug- 
gestions FOR  Their  Application  -j-o  De- 
sign.    Illus.     N.  Y,,  Scribner,  1S96.  $1.50. 
There  are  many  books  m  existence,  some  old  and 
,=ome  new   in  which  it  is  proposed  to  show  the  student 
how  designs  are  made  from  natural  forms,  with  or 
without  the  addition  of  color     This  book  is  mentioned 
because  the  designs  contained   in   it  are  often  good, 
sometimes  very  good,  and  m  a  few  cases  excellent, 
phrases  which  could  not  be  used   in  relation  to  any 
other  such  book  now  in  mind. 

It  IS  to  be  observed  that  designs  which  are  altogeth- 
er inspired  by  natural  forms  are  free  from  the  faults 
and  from  the  virtues  alike  of  conventional  patterns 
based  on  recognized  styles  of  d'coration.  they  will 
neither  bs  Renaissance,  nor  Gothic,  nor  Romanesque, 
nor  Rococo,  nor  Greek,  nor  Persian,  nor  Chinese,  It 
will  seem  to  many  that  such  novelty  in  design,  starting 
from  fresh  premises  and  coming  to  novel  conclusions, 
is  what  IS  most  needed  Of  course,  nothing  really  good 
can  come  of  it  so  long  as  each  season's  line  of  goods  re- 
quires a  new  set  of  patterns  and  the  oldpatlerns,  good 
or  bad.  are  thrown  out  as  old  stock.  There  is  no  real 
hope  for  our  decorative  art  in  any  of  the  branches  which 
fashion  governs  in  this  way. 

Beside  the  question  of  pattern-designing  the  book 
contains  information  about  processes  in  embroidery, 
tiles,  jesso,  etc,  640 

Ijyon,  Irving  WhitalL 

Colonial    Furniture    of    New     England. 

Bost,,  Houghton,  iSgi.  $10. 

Apart  from  the  traditional  interest  which  so  many 
Americans  take  in  the  New  England  furniture  of  the 
XVII.  and  XVIII  centuries,  this  furniture  has  its  per- 
manent value  in  connection  with  the  "  Old  Colonial " 
air hitecture,  as  this  has  its  value  in  connection  with  the 
English  architecture  of  the  time  of  Queen  Anne  and  the 
Georges.  This  interesting  book  contains  113  illustra- 
tions, mostly  photographic  •  the  text  is  a  thorough  ex- 
amination of  the  whole  subject.  645 

Maindron,  G.  R.  Maurice. 

Les  Armes.         (B.E.B.A.)     Paris.    Quanlin, 

5fr. 

The  most  scientific  of  all  the  small  handbooks  on 
weapons  and  armor  It  contains  250  pictures  besides 
markb  of  armor-smiths:  these  are  carefully  drawn  and 
their  dates  and  descriptions  given  with  accuracy.  The 
book  has  the  great  advantage  of  coming  down  to  ver>' 


r, 


recent  times  and  cxpUininp  ihe  arms  and  armor  worn 
under  Louis  XIV.  as  completely  as  ihosc  of  earlier 
times.  Probably  the  best  book  to  study  t(  one  would 
understand  how  armor  was  worn  and  weapons  were 
used  .  this  being,  of  course,  a  necessary  pieliminary  to 
the  study  of  that  decoration,  399 

Marryat,  Jcseph. 

lIisTOKY  (II-  Pottery  and  Porcelain,  Medi- 
aeval AND  Modern.  Lond..  John  Murray. 
iS6S-  42s. 

An  old  book  ;  many  treatises  have  appeared  since  its 
ubhcation,  even  in  the  late  edition,  but  it  still  h.is  value. 
_n  fact,  no  one  of  the  many  books  on  ceramics— cer- 
tainly none  in  English— replaces  all  others,  and  it  is 
even  hard  to  select  the  one  which  will  prove  the  best 
for  ordinary  occasions.  Compare  the  books  namc^l 
under  I'rime  and  Jaennicke.  738 

Maskell,  William. 

Desckii'Iton  of  the  Ivories,  Ancient  and 
Medi.eval,  in  the  South  Kensington  Mu- 
seum. Lond..  Chapman  &  Hall,  1872,  2s, 
6d, 

Ivory  cir^'ing  is  one  of  the  most  intercstinc  of  the 
decorative  arts,  partakinpr  as  It  does  of  the  qualities  of 
very  perfect  sculpture  Ivory  has  always  been  a  favor- 
ite material  for  delicate  sculpture;  of  the  c-pochs  of 
art  represented  by  thi  South  Kensington  Museum, 
there  are  carved  ivories  for,  perhaps,  every  one  Con 
sular  diptychs  of  the  IV.  and  V  centuries,  medutval 
mirrors  and  episcopal  crooks  and  renaissance  and  later 
statuettes  and  bas-reliefs  arc  all  represented  in  the 
South  Kensington  Museum  and  in  this  book  which  un- 
locks Its  treasures  730 

Melani,  Alfred  O. 

Decorazione  e  Industrie  Artisticiie.  Mi- 
lano.  Ulrico  Hoepli.  iSSg.  2  v.,  6  lire. 
Forms  one  of  the  Hoepli  Manuali  and  is  by  the  same 
author  as  the  Architetlura  Ilaliana,  mentioned  above. 
The  reasons  for  recommending  it.  the  same  as  sug- 
gested tn  the  other  case,  aie  perhaps  even  more  influ- 
ential here  Italian  art  has  always  been  decorative 
rather  than  constructional,  and  this  book,  though  not 
confined  to  Italian  decoration,  draws,  naturally,  many 
of  Its  conclusions  from  Italian  examples.  This  is  par- 
ticularly true  of  the  second  volume.  The  work  is  cal 
culated  to  give  a  good  general  view  of  decorative  art  in 
all  ages,  740 

Middleton,  J.  Henry. 

Article  Te.xtile  Fabrics    Encyclop.-cdia    Bri- 
tannica,  glh  ed. 
Gives  much  attention  to  artistic  design  m  stuffs, 

Article   Plate,   Encyclopaedia  Kritannica,  ylh 

ed. 
Article  Mosaic,  Encyclopaedia  Hritannica.  9lh 

ed. 

Illuminated  Manuscripts  in  Classical  and 

Meiii.'eval    Times  ;    their    Art    and    Iheir 

Technique,     Illus.     Cambridge,  Cambridge 

University  Press,  iSq2.  21s. 

See  what  is  said  of  the  author  in  connection  with  his 

book  on  engraved  gems.  Part  II.    The  general  subject 

of  illuminated  and  illustrated  manuscripts  is  very  well 

treated  in  this  book     indeed,  there  are  points  made  and 

information  given  which  it  is  not  usual  to  tind  m  any 

accessible  -vork,  09o 

Morris,  William. 

Hopes  and  Fears  for  Art.     Bost.,  Roberts, 

Si. 25. 

See  in  Part  I  what  is  said  of  this  writer  and  his  in- 
terest in  decorative  art  as  it  was  practised  in  days  \vhcn 
tradition  and  non-academic  teaching  governed  it.   704 

Morris,  William,  Editor. 

Arts  and  Crafts   Essays  :  By    Members  of 

the    Arts   and    Crafts    Exhibition    Society. 

N.  Y.,  Scribner.  iSo3   $2.50. 

Some  excellent  papers,  such  as  ■   Furnilure  and  the 

Rwm,  •  by  Edward  S    Kior,  and  ■The  Room  and 


52 


Minor  Decorative  Arts. 


Furniture."  by  Halscy  Ricardo.  Mr.  Morris's  preface 
IS  also  imporiam.  "  ^lodern  Embroidery."  by  Mary 
E.  Turner,  is  one  of  the  papers  which  have  peculiar 
value.  Contains  also  "  Decorative  Printing  and  De- 
signinp."  bv  Walter  Crane.  "  Bookbinding,  '  by 
Cobden  Sanderson,  and  •  Dyeing,'  by  William  Morris. 

602 

Muntz,  £ugene. 

La   Tai'Isserie.     (B.E.B.A.)     Paris.    Maison 

Quantin,  5  fr.    Trans!,  by  Miss  L.  J.  Davis 

as  Short  History  of  Tatestrv.     N.  Y., 

Cassell.  |2. 

The  word  Tapissene  corresponds  to  the  English 
tapestry  and  also  to  worsted- work,  done  with  the  needle. 
In  the  former  sense  it  denotes,  perhaps,  the  most  digni- 
fied and  e,\alted  of  all  the  decorative  arts.  Very  large 
and  costly  works  have  been  devoted  to  the  subject 
without  exhausting  it,  or  even  doing  it  full  justice. 
The  small  book  here  named  is  as  good  a  handbook  as 
one  IS  likely  to  find  and  is  well  illustrated.  It  is  inter- 
esting reading  as  well  as  valuable  (or  the  information 
It  contains.     See  under  GuifErey  and  Havard.  746 

Palissy,  B.     See  Burly.  P. 

Palliser,  Mrs.  Bury. 

History  ok  Lace.  3d  ed.  Lond..  Sampson 
Low  &  Co..  1875,  21S. 

A  book  widely  known,  which  has  passed  through 
several  editions.  Has  not  been  in  any  way  superseded 
Compare  the  larger  work  by  Segum  and  the  handbook 
by  Lefebure.  746 

Petrie,  W.  M.  Flinders. 

Egyptian  Decorative  Art.  Lond..  Methuen 
iS:  Co.     N.  Y..  Putnam.  1895.  $1.50. 

There  are  a  number  of  books  recently  published  in 
which  decorative  art  is  treated  scientifically.  They  at- 
tempt to  ascertain,  by  actual  examination  and  by  com- 
parison of  ascertained  facts,  the  origin  of  decorative 
features  and  details,  in  order  to  establish  a  scientific 
history  of  decorative  art.  These  books  are  not  named 
in  this  catalogue,  because  it  is  only  in  a  very  few  cases 
that  they  show  any  sense  of  artistic  appreciation.  In 
trying  to  explain  the  origin  of  art  they  ignore  the  ar- 
tistic purpose  of  the  designer;  and  this  because  the 
authors  have  known  nothing  of  the  way  in  which  the 
artistic  impulse  expresses  itself,  or  the  way  in  which  an 
artistic  thought  is  conveyed.  The  book  under  consid- 
eration is  valuable  in  that  Mr.  Petrie  has  at  all  events  a 
large  and  intimate  acquaintance  with  the  finest  artistic 
productions  of  ancient  E^ypt.  It  is  mentioned  there- 
fore as  a  favorable  example  of  books  of  its  class.      740 

Pollen,  John  Hungerford. 

Ancient  and  Modern  Furniti're  and  Wood- 
work IN  THE  Soi'TH  Kensington  Musei'M. 
Lond..  Chapman  &  Hall.  1S74,  2s.  6d. 

Very  valuable,  with  a  historical  introduction  of  240 

fages,  16  photographs,  and  20  wood-cuts  in  the  text. 
n  this,  as  in  the  other  South  Kensington  catalogues, 
the  notices  appended  to  the  different  titles  of  the  objects 
in  the  collection  are,  themselves,  of  historical  value. 

645 

Ancient  and  Modern  Gold  and  Silver 
Smiths'  Work  in  the  Soi'th  Kensington 
Ml'sel'M.  Lond.,  Chapman  &  Hall,  1S7S, 
2s.  6d. 

One  of  the  South  Kensington  catalogues  with  his- 
torical and  critical  introductmn.  The  introduction  of 
200  pages  is  a  valuable  treatise.  In  like  manner  the 
items  of  the  catalogue  have  excellent  descriptions  and 
explanatory  remarks  added.  Only  in  the  illustrations 
is  there  inferiority  to  the  other  volumes;  there  are  no 
photographs  in  the  book,  only  a  number  of  wood-cuts 
and  a  dozen  etchings  made  by  students  in  the  etching 
class  at  the  South  Kensington  Art  School.  Compare 
the  book  by  Foster  and  Atkinson. 

Prideaux,  S.  T. 

Historical  Sketch  of  Bookbinding.  Lend., 
Lawrence  ^S:  BuUen,  1S93.  6s.  N.  Y.. 
Scribner.  S2.40. 

Miss  Prideaux  is  a  practical  bookbinder :  one  of 
•those  persons  who  in  England  have  devoted  themselves 


?a 
n 


to  handwrought,  specially  designed  binding  in  the 
spirit  ol  ancient  handicraft.  The  book  is  capable  of 
giving  a  close  and  very  intimate  sense  of  the  essential 
characteristics o(  ihe  art  as  it  was  practised  in  the  past, 
when  It  was  a  decorative  art  as  important  as  most 
others. 

See  also  Pan  II.  of  Adolph  GrowolTs  "Profession 
of  Bookselling"'  {N.  Y..  Puhlishers'  Weekly,  1895,  $2)- 
Pages  86-130  give  a  sketch  of  bookbinding,  historical 
and  practical,  with  full-page  illustrations  of  typical 
bindings,  and  a  bibliography.  686 

Prime,  William  S. 

Fotterv  and  Porcelain  of  All  Times  and 
Nations.  N.  Y..  Harper.  1S7S.  Out  of 
print. 

Probably  the  most  convenient  for  reference,  and  the 
most  interesting  to  read,  of  all  the  books  which  attempt 
10  cover  the  whole  vast  field  of  ceramics.  738- 

Racinetj  A.  C.  A. 

Le    Costume    Historique.      Paris,    Firmin- 

Didot  &  Cie..  18SS.  6  v..  240  fr. 

In  500  plates,  of  which  the  greater  number  are  in 
color,  costume  of  all  ages  and  nations  is  treated  and, 
together  with  dress,  many  of  the  surroundings  and  ac- 
cessories of  daily  life.  What  little  remains  in  Europe 
of  characteristic  costume  is  treated  as  fully  as  the  cos- 
tumes of  the  past  The  text  consists  chiefly  of  a  de- 
scription of  each  figure  and  of  some  account  of  the 
sources  from  which  the  information  is  derived.  Not 
very  scientific,  but  is  a  great  store-house  of  trustworthy 
information.  390 

Rayet,  Olivier,  and  Collignon,  Maxime. 

HiSTOiRE  DE  LA  CeramI'jik  Grecqle.  Parls, 
Georges  Decaux.  1SS8.  40  fr. 

An  admirable  book  for  obtaining  a  general  knowl- 
edge of  Greek  pottery  and  Greek  decoration  Many 
illustrations,  of  which  16  are  colored  plates.  738 

Renan,  Ary. 

Le  CosTiMEEN  France.  (B.E.B.A.)  Paris. 
Quaniin.  5  fr. 

A  valuable  handbook  with  173  illustrationSj  bringing 
the  history  of  costume  down  to  the  beginning  of  the 
Revolution.  390 

Riano,  Juan  F. 

The  Imh'strial  Arts  of  Spain.  Lond.. 
Chapman  ^i  Hall.  1S79,  4s. 

One  of  the  South  Kensington  handbooks,  a  small 
volume  of  276  pages,  illustrated  by  a  number  of  wood- 
cuts. Not  very  critical  but  contains  a  great  deal  of 
classified  information.  609 

Robinson,  Edward. 

Catalogte  ok  Greek.  Etrlscan,  and  Roman 
Vases  in  the  Mlsecm  of  Fine  Arts.  Bos- 
ton. Bost.,  Museum  of  Fine  Arts,  1S93, 
65  c. 

The  collection  of  vases  in  the  Boston  Museum,, 
though  small  is  very  good  and  characteristic.  Mr. 
Robinson,  who  is  the  Curator  of  Greek  Ant-quities,  is 
a  safe  guide  to  their  study.  738 

Rock,  Very  Rev.  Daniel. 
Textile  Fabrics,  Collection  of  Church 
Vestments.  Dresses,  Silk  Stuffs,  Needle- 
work AND  Tapestries,  Section  of  South 
Kensington  Museum.  Lond.,  Chapman 
&  Hall.  1S70,  2s.  6d. 

One  of  the  large  South  Kensington  catalogues; 
written  by  a  student  and  collector  of  extensive  knowl- 
edge. The  historical  and  critical  introduction  occupies 
163  pages  and  the  catalogue  itself  contains  many  de- 
scriptive notes.  There  are  excellent  full-page  illustra- 
tions giving  colored  patterns  from  stuffs  and  embroid- 
eries. 247 

Rouaix,  Paul. 

Dictionnaire  des  Akts  Decoratifs.     Paris. 


Minor  Decorative  Arts. 


55 


Librairie   Illustr6e,   Montgredien,    1SS5.    24 
fr. 

This  ver^'  inexpensive  book  seems  not  to  be  much  in 
use  out  ol  l-rance.  It  will  be  (ound  exiremely  useful 
and  capable  ot  j,'iving  information  even  at  some  Icntith 
under  many  separate  headinijs-  No  such  work,  as  yet 
published,  even  approachescoiiipletcness,  and  one  book 
has  to  be  used  to  supply  whai  is  lacking  to  another, 
both  as  to  terms  dehned  and  as  to  ilie  information 
f^'iven  under  each.  740 

Rudler,  F.  W. 

Article  Enamel,  EncycIopaHlia  Britannica.  9ih 
ed. 
A  very  full  paper,  and  valuable. 

Saward,  B.  C,  atui  Caulfeild,  S.  T.  A. 

nirrioNAKV  OF  Needlework.     ^Ve- Caulfeild. 

Scott,  William  Bell. 

Half-Hotk  Lectures  ox  the  History  and 
Practice  of  the  Fine  and  Ornamental 
Arts.  Lond,,  Longmans,  1S74.  Oui  of 
print. 

In  this  little  handbook  Mr.  Scott  has  used  his  sympa- 
thetic appreciation  of  the  decorative  arts  to  give  an 
account  of  the  arts  of  the  earlier  and  later  Middle 
Ages,  This  narrative  passes  into  an  account  ot  the 
earlier  schools  of  modern  painting  and  so  into  general 
considerations  concerning,'  designing  There  are  nine- 
teen lectures  contained  in  the  volume,  and  this  would 
account  for  its  disconnected  character  It  consists,  in 
fact,  of  the  somewhat  unfinished  and  unelabnrated 
notes  of  an  artist  who.  while  thoroughly  familiar  with 
the  essential  facts,  had  never  made  a  study  of  minor 
details.  707 

Seguin,  Joseph. 

Le  Dentelle.  Hlstoire,  Description.  Fa- 
brication, BiBLioGRAPHlE.  Paris.  Roths- 
child, 1S75.  100  fr. 

Fifty  photographic  plates  of  fi^e  specimens  of  ancient 
lace  are  accompanied  by  100  pages  of  te.vt  which,  with- 
out being  a  final  or  exhaustive  history  ot  the  subject, 
IS  yet  of  great  value.  This  book  should  be  used  in  con- 
nection with  Mrs.  Palliser's.  746 

Steele,  Frances  Mary, ./;/./  Adams,  Elizabeth 

Livingston  Steele. 
Beauty  of  Form  ano  Gr^vce  of  Vesture. 

N.  y..  Dodd.  Mead  &  Co..  1S92.  $1.75. 

A  valuable  and  suggestive  protest  against  absurdi- 
ties in  modern  dress ;  also  e.\tremely  suggestive  to  the 
student  of  figure  painting  when  associated  with  cos- 
tume In  this  latter  direction  the  book  mav  be  used  as 
IS  indicated  in  the  notes  on  Briicke  and  rtatton,  Part 
II,  The  illustrations  in  this  book  are  far  less  artistic 
than  those  in  the  books  named  above,  but  they  serve  a 
good  purpose.  390 

Sturgis,  Russell. 

Articles,    Johnson's     Universal    Cyclopredia, 

Edition  1S93-5  : 

"  Costume,"  "  Decorative  Art,"  "  Embroidery." 
"Enamel,"  "Furniture,"  "  Glass  in  Artistic  Design," 


"  Lacquer," 
"Tapestry," 
articles. 


'  Metal  Work,"  '*  PorccUin,"  "  Pottery." 
"Textile  Fabrics,"    and    many   shorter 


Transactions  of  the  National  Association  for 
the  Advancement  of  Art  and  its  Applica- 
tion to  Industry. 

LiVKki<H)L.MEETiNG.  iSS8.  Lond..  188S.  Out 
of  print. 

There  are  many  volumes  which  have  resulted  from 
meetings  of  artistic  associations.  H  this  one  is  selected 
for  mention  it  is  because  the  Society  :n  question  leprc- 
sents  a  great  deal  of  conscious  purpose  in  the  v;ay  of 
spreading  amon^  the  people,  botn  ihe  practice  and  the 
appreciation  of  tine  art.  and  aWo  because  the  speakers 
and  readers  of  papers  were  generally  men  very  much 
in  earnest  and  men  of  practical  experience.  Thus  the 
paper  byW.  Holman  Hunt  on  ".\rt  Education  "  and 
that  by  Reginald  Hallward  on  the  "  Emancipation  of 
the  Picture."  in  which  he  attacks  the  Royal  Academy, 
represent  a  s:>mcwhat  unconventional  ancf  even  revo'u- 
tionary  view  of  teaching  art  practically.  Thus,  a'so, 
the  alliance  ol  sculpture  and  other  tine  arts  i  >  building. 
which  is  an  important  part  of  the  combined  art  whitli 
we  call  architecture,  is  treated  by  three  artists  and  ex- 
perts—George Simonds.  J.  Belcher,  an:)  W.  A.  S. 
Benson.  There  are,  perhaps,  40  papers  in  this  volume, 
and  many  of  them  are  of  great  suggestive  value.  A 
paper  read  at  a  meeting  is  seldom  exhaustive,  but  it  is 
apt  to  contain  hiats  wnich  arc  not  so  naturally  found 
in  larger  works.  605 

VioUet-le-Duc,  E.  E. 

UlCTInNNAIRE  RaISONN£  Pl*  MoHILIER  FKA.N- 
(^AIS     I)E     L'feFOnL'E    CaRLOVINC.IENNE     A     LA 

Renaissance.      Paris.    A.    Morel    &    Cie.. 

1S75.  300  fr. 

This  work  is  several  dictionaries  in  one.  The  first 
volume  IS  devoted  to  furniture,  with  as  an  appendix 
some  very  interestinp  essays  on  the  method  of  con- 
struction in  the  Middle  Ages.  The  second  volume 
deals  with  utensils  in  one  alphabet,  then  with  gold- 
smith's work,  then  with  musical  instruments,  and  then 
with  sports  and  pastimes,  including  hunting  and  the 
tournament,  and  gives  finally  a  few  pages  to  tools  of 
the  carpenierj  blacksmith,  etc.— a  very  curious  ency- 
clopardia  of  life  in  the  Middle  Ages.  The  third  and 
fourth  volumes  are  devoted  to  dress,  the  fifth  and  sixth 
to  armor  and  weapons.  The  text  is  throughout  of  the 
most  suggestive  character,  and  generally  trustworthy  ; 
the  illustrations  have  that  extraordinary  value  which 
has  been  spoken  of  under  the  same  author's  "  Diction- 
ary of  Arcnitecturc."  603 

Walker,  Louisa. 

Vakiei>  Occupations  in  Strinc.work,  Com- 
I'RisiNCr  Knotting  etc.  N.  Y.,  Macmillan» 
iS()6.  $1.25. 

An  artistic  book  of  its  kind:  jjives  directions  for 
very  pretty  and  varied  work  in  netting,  fringing,  etc. 

746 
Woraaae,  J.  J.  A. 

Indi'sirial  Arts  ok  Denmark.  Lond.,  Chap- 
man (S:  Hall.  l3S2,  3s.  6d. 

One  of  the  South  Kensington  Museum  handbooks, 
by  a  very  competent  writer.  Deals  with  the  art  of  the 
earliest  ages  only.  Many  illustrations  and  a  map  of 
the  kingdom  of  Denmark  .is  it  was  down  to  1660.  at 
which  period  its  boundaries  were  much  reduced,    009 


MUSIC. 


A  SELECTION  FROM  ITS  LITERATURE.  WITH  NOTES,  BY 
HENRY    EDWARD    KREHBIEL, 

Musical  Editor  Ne%v    York   Tribune.     Author  of  ""^^  Studies  in  the   Wagnerian  Dran'a^ 
"  Hoiv  to  Listen  to  MusiCy^  etc. 


PART 

I. 

PART 

II. 

PART 

III. 

PART 

IV. 

PART 

V. 

PART 

VI. 

PART 

VII. 

PART 

VIII. 

PART 

IX. 

PART 

X. 

PART 

XI. 

General  Histories 55 

Special  Histories  (of  instruments,  forms,  countries,  notation,  periods,  organizations,  etc.)  56 

Ancient  and  MedIjEv.al  Music 60 

Folk-Song  and  National  Music 61 

Biography -     .  63 

Wacneriana t-j 

Science  and  .(Esthetics  (including  treatises  on  thk  elements  of  music  and  a  few  leading 

text-books) 69 

Criticism  and  Analysis 70 

Encyclopaedias  and  Dictionaries 73 

Musical  Journals 73 

List  of  Second-Hand  Dealers  who  issue  catalogues  devoted  to  musical  literature.   .     .  74 


PREFATORY    NOTE. 


In  preparing  this  list  it  was  my  aim  prac- 
tically to  cover  the  entire  field  of  books  on 
music  which  are  obtainable  and  are,  in  my 
opinion,  the  best  of  their  kind.  The  list  is 
neither  as  full  nor  as  radical  as  it  might  have 
been  made,  for  it  was  deemed  necessary  to 
yield  a  point  occasionally  out  of  consideration 
for  some  who  are  likely  to  consult  it  with  other 
purposes  than  serious  study. 

A  large  proportion  of  the  most  valuable  books 
on  music  in  existence  are  in  German.  Many 
of  them  were  published  in  the  first  half  of  the 
present  century,  which  was  peculiarly  rich  in 
scientific  and  painstaking  investigators,  such 
as  Kiesewetter,  Bellermann,  Westphal,  Forkel, 
and,  later,  Ambros  and  Paul.  The  books  of 
these  men  laid  the  foundation  for  nearly  all  the 
general  and  special  study  which  has  been  pur- 
sued since  in  the  science  and  art  of  music. 
But  they  were  not  books  for  the  many,  and  in 
consequence  have  not  remained  in  print.  Where 
it.vvas  possible  to  replace  an  old  work  written 
in  German  or  French  with  a  more  modern  book, 
or  a  trustworthy  one  in  English,  I  have  done  so, 
but  I  have'valued  the  classics  too  highly  to  omit 
them  simply  because  to  buy  or  consult  them 
might  be  attended  with  some  inconvenience. 
Mo-reover,  whenever  it  has  been  possible  I  have 
consorted  with  a  rare,  e.xpensive,  or  voluminous 
work  one  of  more  modest  dimensions  and  scope. 
I  have  also  given  preference  to  American  re- 
prints, for  practical  reasons,  though  often  re- 
gretfully. 

In  spite  of  the  age  and  comparative  rarity  of 
the  books  which  are  designated  as  out  of  print 


by  the  mark  "  O.P.,"  it  is  possible  to  find  near- 
ly all  of  them  in  the  course  of  time  by  watching 
the  catalogues  of  the  second-hand  book-dealers, 
those  of  Leipsic  especially.  These  "Antiqua- 
rian" dealers  obtain  possession  of  fine  collec- 
tions every  year,  and  there  is  scarcely  a  biblio- 
graphical treasure  which  a  collector  need  be 
without  so  he  be  diligent  in  search,  patient  in 
waiting,  and  willing  to  pay  the  price — which  is 
seldom  extravagant.  The  dealers  whose  ad- 
dresses are  appended  to  this  list  will  always 
furnish  their  special  catalogues  on  application. 

The  special  lists  of  writings  devoted  to  Folk- 
Song,  National  Music  and  Wagner's  Art  are 
thought  to  be  justified  by  the  great  interest 
displayed  in  these  subjects  lately  by  writers  and 
literary  and  musical  clubs.  The  very  many 
applications  for  help  in  this  department  which 
I  have  received  from  all  parts  of  the  United 
States  are  proof  of  the  extent  and  sincerity  of 
this  interest. 

In  the  case  of  a  few  works  of  particular  rarity 
I  have  indicated  where  they  may  be  consulted 
in  New  York.  In  the  Lenox  and  Astor  libra- 
ries are  large  and  exceedingly  valuable  depart- 
ments of  musical  works.  That  in  the  former 
consists  of  the  collection  made  and  bequeathed 
by  the  late  Joseph  W.  Drexel.  A  check  list  of 
the  collection  shows  5542  titles  of  bound  vol- 
umes and  766  pamphlets.  The  real  value  of 
the  Drexel  collection  is  not  disclosed  by  either 
the  check  list  which  Mr.  Drexel  published  in 
1S69  or  the  augmented  list  printed  for  the  li- 
brary of  which  the  earlier  list  was  the  founda- 
tion.    Both    are    incomplete   as  well  as   faulty. 


Music  :   Genera/  History. 


55 


and  the  former  was  made  before  some  Ol  the 
most  interesting  features  of  the  collection  were 
added.  An  intelligently  annotated  catalogue  of 
these  books  is  a  great  desideratum.  It  is  the 
intention  of  the  authorities  to  catalogue  all  the 
works  comprehensively.  An  attractive  portion 
of  this  collection  lies  in  the  manuscripts  of  the 
late  Dr.  Edward  F.  Rimbault,  purchased  by  Mr. 
Urexel  in  1S77.  These  include  many  note-books 
and  copies  of  old  manuscripts  made  by  Dr.  Rim- 
bault in  the  course  of  his  historical  investiga- 
tions. 

The  .A.stor  Library  has  a  reasonably  full  work- 
ing collection,  well  up  to  date,  of  books  on  mu- 

Niw    York,  January,   1S97. 


sical  history,  theory,  and  biography.  The 
works  of  the  later  German  and  Belgian  investi- 
gators are  well  represented.  There  are  also  to 
be  found  the  interesting  publications  of  texts 
and  scores  by  the  Plain  Song  and  Madrigal 
Society  of  London,  as  well  as  the  issues 
of  the  Dutch,  Swedish,  and  German  Antiqua- 
rian Societies.  The  collection  is  also  rich  in 
scores. 

The  Musical  Department  of  the  Newberry  Li- 
brary, Chicago,  has  full  scores  of  the  great 
composers,  and  the  more  important  historical 
and  critical  works  in  English,  French,  German, 
and  Italian.  H.   E.   K. 


PART    I. 


GENERAL  HISTORY. 


Ambros,  August  Wilhelm. 

GeSCHICHTE  DER  MlSIK.  MiT  ZAHLREICHEN 
NOTENBEISPIELEN  f.ND  MVSIKKEILAGEN. 
Dritte  Auflage.  Leipsic,  F.  E.  C.  Leuckart, 
1S92,  5  vols.,  63  marks. 

In  ever)'  respect  the  "most  thorough  and  scholarly 
history  of  music  yet  "written.  Unfortunately  the 
author  died  while  giving  the  finishing  touches  to  the 
fourth  volume,  which  brings  the  story  of  musical  de- 
velopment down  to  the  culmination  of  the  a  capelta 
style  in  Palestrina.  The  revision  of  the  manuscript 
of' the  last  volume  was  accomplished  by  G.  Nottebohm. 
In  the  third  edition  the  first  volume,  devoted  to  the 
music  of  ancient  Greece  and  the  Orient,  has  been  en- 
tirely rewritten  by  B.  von  Sokolowsky  to  make  it  con- 
form with  the  more  recent  discoveries  and  theories  of 
Rudolph  Westphal  and  F.  A.  Gevaert  in  this  depart- 
ment. The  second  volume  was  revised  by  Heinrich 
Reimann,  the  third  by  Otto  Kade.  A  necessary  com- 
panion to  the  first  edition  is  the  inde.\  (.V'^wtv;  uud 
Sachregister),   prepared    by  Wilhelm   Biiumker,  and 

fublished  as  a  separate  volume  by  Leuckart  in  1S82. 
n  the  third  edition  each  volume  has  its  own  index. 

780.9 

Brendel,  Franz. 

viESCHICHTE  DER  MUSIK  IN  ItALIEN,  DeUTSCH- 
LA.ND    UND    FraXKREICH,    VO.V    DE.N    ERSTE.N 

Christichen  Zeiten  bis  .\iF  DIE  Gegen- 
WART.  Funfundzwanzig  Vorlesungen.  7th 
ed.  Leipsic,  Heinrich  Matthes,  iSSg,  636 
p.,  S3. 60. 

All  Brendel's  writings  are  permeated  with  the  pro- 
gressive spirit  which  made  him  one  of  the  most  effec- 
tive champions  of  the  neo-Germanfc  school  which  cul- 
minated in  Wagner  and  Liszt.  Ne\erEheless  he  stops 
short  of  being  an  extremist  in  his  historical  writings. 
His  lectures  are  invigorating.  780.9 

Bumey,  Charles. 

A  General  History  of  Music,  from  the 
Earliest  .\ges  to  the  Present  Period.  Lond., 
printed  for  the  author  aid  sold  by  Payne 
&  Son,  at  the  N'ews-Gate;  Robson  &  Clark. 
Bond-Street  ;  and  G.  G.  J.  &  J.  Robinson, 
Paternoster  Row,  1776-17S9,  4  vols.  O.P. 
See  note  under  Hawki.n's.  780.9 

Dickinson,  Edward. 

GlIDE    TO    THE    StI'DY    OF   MfSICAL    HISTORY 

AND  Criticism.     Oberlin.  O.,  Edward  Dick- 
inson, 95  p.,  75  c. 
The  author  is  professor  of  musical  histor>'  at  Oberlin 


College,  and  his  book,  which  beginners  in  the  study  will 
find  helpful,  is  in  the  form  of  syllabuses  for  lectures 
and  references  to  authorities.  780.9 

Forkel,  Johann  Nicolaus. 

.\LLGEMEINE  GeSCHICh'fE  DER  MusiK.  Leip- 
sic,  17SS-1S01,  2  vols.,  x.vxvi,  504,  xviii, 
776  p.     O.P. 

The  first  of  the  larger  histories  undertaken  in  Ger- 
many. Though  he  had  Hawkins  and  Burney  as  pre- 
decessors and  sources,  Forkel  developed  his  work  on 
independent  lines,  at  least  so  far  as  the  manner  of  pres- 
entation is  concerned.  The  book  is  incomplete,  carry- 
ing the  story  of  music  only  down  to  the  middle  of  the 
XVI.  centurv.     Though  out  of  print  the  history  is  fre- 


quently listed  in  second-hand  catalogues. 


780.9 


Hawkins,  Sir  John. 

A  General  History   of  the   Science  and 

Practice  of  Mlsic.    N.  Y.,  Novello,  Ewer 

&  Co.,  2   vols.,    xxxvi,  4S6,   493  p.,  SS.40. 

A  third  vol..  63  p.  of  portraits,  may  be  had 

separately.  S6.40. 

This  work  was  originally  published  in  1776.  The 
present  edition,  1875.  is  the  second  reprint  by  the  No- 
vellos,  the  first  having  been  issued  in  1853.  It  contains 
a  biographical  sketch  of  the  author  and  his  posthumous 
notes.  Vol.  III.  is  devoted  to  copper-plate  portraits. 
Hawkins's  History  suffered  somewhat  unjustly  at  the 
outset  by  comparis:>n  with  Burney's,  the  first  volume 
of  which  was  issued  in  the  same  year  that  faw  the  ap- 
pearance of  Hawkins's.  For  this.  Burney's  greater 
reputation  as  a  musician  and  the  livelier  literary  style 
which  he  commanded  were  responsible.  Latterly  there 
has  been  manifest  a  disposition  to  reverse  the  early 
judgment,  the  fact  being  recognized  that  Hawkins 
was  the  more  painstaking  investigator  of  the  two. 
Both  histories  are  antiquated,  but  are  nevertheless  val- 
uable to  the  student  because  of  their  voluminous 
illustrations.  780.9 

Henderson,  W.  J. 

The  Story  of  Mlsic.     N.   Y..   Longmans. 
212  p.,  $1. 

In  no  respect  a  conventional  history  but  a  series  of 
pleasantly  v  ritten  and  suggestive  essays  on  some  of 
the  phases  through  which  music  has  passed  from  the 
ordination  of  its  elements  till  to-day.  780.4 

Himt,  H.  G.  Bonavia. 
Concise  History  of  Mtsic  from  the  Com- 
mencement of  THE  ChRISTI.\N  ErA  TO  THE 
Present  Time.     N.  Y.,  Macmillan.  1S4  p., 
90  c. 
Designed  for  the  use  of  schools,  and  to  that  end  pro- 


t:6 


Music  :  Special  Hiitories. 


vided  with  a  list  of  examination  questions.  Section  I. 
chiefly  a  chronological  and  biographical  record:  Section 
II.  a  series  of  tables  of  musicians  and  musical  events; 
Section  III.  a  summary  in  which  the  growth  of  the 
art  is  traced.  An  excellent  book  for  systematic  study, 
and  also  helpful  for  quick  reference.  780.9 

■Kiesewretter,  R.  G. 

Geschichtf.      der      europAischabendland- 

ISCHENODER  UNSERER  HEUTIGEN  MllSlK;Dar- 
stellung    ihres    Ursprungs,    ihres    Wachs- 
thumesundihrerstufenvveisenEnt\yickelung 
von  dem  ersten  Jahrhundert  des  Christen- 
thums  bis  auf  unsere  Zeit.     2d  ed.     Leipsic 
and  N.  Y.,  Breitkopf  c*t  Hartel,  1846.     O.P. 
This  history,  whose  author  was  one  of  the  most  in- 
dustrious investigators  that  ever  lived  and  the  uncle  of 
the  historian  Ambros  (see  above),  is  admirable  in  its  con- 
ciseness and  lucidity.     It  is  still  included  in  the  cata- 
logue of  the  publishers,  but  is  out  of  print,  and  can  only 
be  bought  at  second-hand      It  was  published  in  an  Eng- 
lish  translation  as  "A   History  of  Modern   Music  in 
Western   Europe"   in  1848.  but  this  has  disappeared, 
though  there  is  a  copv'  in  the  Drexel  Collection  in  the 
Leno,\  Library,  New  York.  780.9 

langhans,  W. 

The  History  of  Music  in  Twelve  Lect- 
ures. Transl.  from  the  German  by  J.  H. 
Cornell.  New  and  enlarged  edition.  N. 
Y.,  Schirmer,  8l.50. 

A  good  translation  of  the  lectures  delivered  by  Dr. 
Langnans  in  the  Neue  Akademie  der  Tonkunst,  at 
Berlin.  The  author  belongs  to  the  new  romantic 
school,  and  devotes  nis  last  lecture  to  Wagner  ;  it  is 
biographical  and  expository  rather  than  critical.  The 
preceding  chapters  are  not  overburdened  with  biograph- 
ical detail,  .and  trace  the  development  of  music  through 
its  principal  phases  m  an  interesting  and  instructive 
manner.  780.9 

Macfarrenj  G.  A. 

Musical  History  Briefly  Narrated  and 
Technically  Discussed,  with  a  roll  of  the 
names  of  musicians  and  the  times  and 
places  of  their  births  and  deaths.  Lond., 
A.  &  C.  Black.  N.  Y.,  Macmillan,  220  p.. 
$1.75- 

A  reprint,  with  amplifications,  of  the  article  "  Music," 
in  the  9th  edition  of  the  Encyclopaedia  Britannica.  A 
model  of  encyclopasdic  writing  in  clearness,  terseness, 
-and  comprehensiveness.     Touching   the  questions  of 


modern  musical  polemics  the  author's  attitude  is  ex- 
tremely conservative.  His  Roll  of  Names  is  defective 
from  an  American  point  of  view.  780.9 

Naumann,  Emil. 

The  History  of  Music.  Transl.  by  F.  Prae- 
ger,  edited  by  the  Rev.  Sir  F.  A.  Gore 
Ouseley,  Bart.,  Mus.  Doc.  Professor  of 
Music  in  the  University  of  Oxford.  With 
numerous  illustrations.  N.  Y.,  Cassell  & 
Co..  2  vols.,  xii.  75S.  574  p.,  $10. 

Chiefly  valuable  for  its  illustrations.  Professor  Ouse- 
ley added  chapters  to  cover  the  history  of  music  in 
England  more  fully  than  was  done  by  the  author. 
Naumann  must  be  read  with  caution.  He  was  not  an 
original  investigator.  780.9 

Reissmann,  August. 

Allgemeine  Geschichte  der  Musik.  Mit 
Zahlreichen,  in  den  Text  gedruckten  Noten- 
beispielen  und  Zeichnungen.  sowie  59  voll- 
standigen  Tonstiicken.  Munich.  Friedrich 
Briickmann.  1S63-1S64,  3  vols.,  343,  42S. 
437  p.     O.P. 

Reissmann  is  more  a  compiler  than  an  original 
investigator,  but  there  is  real  merit  in  his  arrangement 
of  the  material  of  musical  history.  He  strives  to  dis- 
close the  evolution  of  music  as  superinduced  by  intel- 
lectual and  social  development  instead  of  adhering 
blindly  to  a  chronological  scheme.  Thus  in  Vol.  I.  he 
treats  first  of  pre-Christian  music,  taking  up  the 
Chinese,  Hindus,  Egyptians,  Hebrews,  and  Greeks, 
but  omitting  peoples  whose  music  never  influenced  the 
Occidental  art;  next  he  shows  music  under  the  influence 
of  Christianity  {Gregorian  Chant,  first  efforts  in  poly- 
phony, the  Netherland,  Venetian  and  Roman  Schools). 
In  Vol.  II.  he  shows  how  the  folk-spint  conditioned 
the  further  development  of  the  art,  the  field  covered 
being  folk-song,  the  chorale,  artistic  song,  the  first 
attempts  at  dramatic  composition,  and  the  beginnings 
of  instrumental  music.  Vol.  III.  discusses  modern 
music  as  the  outcome  of  individual  taste  on  the  part  of 
the  composer.  780.9 

Rockstro,  W.  S. 

Ge\er.\l  History  of  Music  from  the  In- 
t*\NCY  OF  THE  Greek  Drama  to  the 
Present  Period.  New  edition.  Lond. , 
Sampson  Low.     N,  Y.,  Scribner,  I5.60. 

Correct  and  comprehensive,  but  not  always  well 
balanced  It  includes  Wagner's  work,  but  the  chapter 
devoted  10  the  poet-composer  smacks  of  polemics  rather 
than  history.  780.9 


PART    II. 


SPECIAL    HISTORIES. 


Arteagaj  Stefano. . 

Le  Rivoluzioni  del  Teatro  MustcaleItali- 

ANO,   dalla    sua  Origine   Fino  al   Presente. 

2d   ed.      Venice,    Carlo    Palese,     3    vols., 

xlii,  361,  334,  394.     O.P. 

The  first  edition  of  this  famous  history  of  the  Italian 
Opera  was  published  in  1783.  It  was  thoroughly  re- 
vised for  the  second  edition  two  years  later,  and  this 
edition  was  the  foundation  of  a  translation  into  Ger- 
man made  by  Forkel  in  1789  Arteaga  was  a  Spanish 
Jesuit,  who  on  the  suppression  of  his  order  went  to 
Italy  and  made  a  friend  of  Padre  Martini,  who  per- 
suaded him  to  write  this  book.  The  Italian  original 
and  Forkel's  translation  are  occasionally  found  in  sec- 
ond-hand catalogues.  780.945 

Bitter,  C.  H. 

Beitrage  zur  Geschichte  des  Oratoriums. 
Berlin.  R.  Oppenheim,  1872,   503  p.  and  4S 
p.  of  musical  examples,  $3.50. 
Helpful  in  the  study  of  Bach,  Handel,  Graun,  and 


Mendelssohn,  some  of  whose  oratorios  are  interestingly 
described.  783.3 

Brooks,  Henry  M. 

Olden  Time  Music.  A  Compilation  from 
Newspapers  and  Books,  with  an  Introduc- 
tion bv  Prof.  Edward  S.  Morse.  Bost.. 
Ticknor,  iSSS,  2S3  p.,  $1.50. 
Extremely  valuable,  in  its  hints,  to  an  investigator  in 
the  early  history  of  music  in  New  England.     780.974 

Bumey,  Charles. 

The  Present  State  of  Music  in  France  and 
Italy;  or,  The  Journal  of  a  Tour  Through 
those  Countries,  undertaken  to  Collect  Ma- 
terials for  a  General  History  of  Music. 
Lond.,  177I;  41S  p.     O.P. 

The  Present  State  OF  Music  in  Germany, 
the  Netherlands  AND  United  Provinces, 


MifSi'i  :  S/>ciiai  Histories. 


57 


or,  The  Journal  of  a  Tour  Through  those 

Countries,  undertaken  to  Collect   Materials 

for   a  General    History  of    Music.      Lor\d., 

1772.  2  vols..  3S0,  352  p.      O.P. 

These  charminff  books,  though  out  of  print,  are  still 

to  be  had  occasionally  by  purchase  at  second-hand,  not 

only  in  the  original  English  but  also  in   French  and 

German  translations. 

"  Never  was  a  search  for  unsophisticated  intelln^ence 
prosecuted  with  more  diligence  and  en-.Tgy  than  that  of 
this  musical  historian.  He  was  in  possession  of  a  magical 
sesame  in  the  shape  of  letters  from  a  powerful  friend 
in  the  British  nobility,  and  all  doors  swung  open  at  his 
approach.  He  visited  the  hbraries  and  examined  their 
treasures;  conversed  with  almost  every  then  living  musi- 
cian of  eminence;  visited  the  theatres  like  the  most  in- 
veterate and  confirmed  of  pleasure-seekers;  worshipped 
in  the  cathedrals  like  the  most  devout  of  Catholics,  at- 
tended services  in  the  churches  like  the  most  pious 
Lutheran,  and  went  up  into  synagogues  like  a  Jew  in 
whom  there  was  no  guile.  He  did  not  always  note  the 
words  of  the  preacher's  text,  but  he  seldom  omitted  a 
memorandum  on  the  tone  and  compass  of  the  organ 
and  the  taste  and  skill  of  the  organist.  The  record  of 
his  tour,  when  written  out  and  printed,  filled  three  vol- 
umes which,  by  Dr.  Johnson's  own  confession,  became 
the  model  01  the  latter's  '  Tour  to  the  Hebrides.'  The 
volumes  pictured  the  then  state  of  music  in  the  coun- 
tries visited,  and  they  have  remained  till  to-day  the 
delight  of  musical  students,  as  much  for  the  honest  and 
strafghtforward  style  of  the  recital  as  for  the  vast  num- 
ber of  significant  and  suggestive  facts  which  are  mar- 
shalled in  their  pages."— Krehbiel,  *\VoU's^n  the  Cul- 
tivation 0/ Choral  Music''  780.940 

•Celler,  Ludovico. 

Les  Origines  de  L'Op£ra  et  Le  Ballet  de 
LA  Reine  ( 15S1).  Elude  sur  les  Danses,  la 
Musique,  les  Orchestres  et  la  Mise  en  sc^ne 
au  XVI*'  si^cle,  avec  un  aper^u  des  pro- 
gres  du  Drame  lyrique  depuis  le  XI II*' 
siecle  jusqu'a  Lully,  Paris,  Didier  &  Cie., 
tS6S,  364  p.,  fr.  3.50. 

Contains  instructive  notes  on  the  dances  of  the  XVI 
century,  which  entered  largely  into  operas  and  suites, 
and  a  valuable  study  of  Baltazarini  (or  Baltagenni, 
afterwards  called  M.  de  Beaujoyeulx)  and  his  BalUt 
co7nique  de  la  royne.  782 

•Cro^west,  Frederick  J. 

The  Story  of  British  Music,  from  the  Earli- 
est Times  to  the  Tudor  Period.  N.  V., 
Scribner,  1S96,  396  p.,  $3.50. 

Evinces  no  profundity  of   insight  or  extensive  re- 
search but  serves  a  purpose   in   helping  reference 


special  details. 


780.942 


Edwards,  C.  A. 

Organs  and  Organ  Building  :  A  Treatise  on 
the  History  and  Construction  of  the  Organ 
from  its  Origin  to  the  Present  Day,  with 
Important  Specifications.  Illus.  Lond., 
^'The   Bazaar"  Office,  iSSi,  248  p.,  5s. 

786.5 

Edwardsj  H.;  Sutherland. 

The    Prinlv    U'inna,    Her   History  and    Sur- 
roundings from  the  XVII.  to  the  XIX.  cen- 
tury.    Lond.,    Remington   &    Co.;    1SS8,    2 
vols.,  320,  302  p..  24s. 
A  series  of  gossipy  sketches  more  entertaining  than 

critical.  '  782 

Engel,  Carl. 

Musical  Instruments.  With  numerous 
wood-cuts.  Lond.,  Chapman  &  Hall.  N. 
v.,  Scribner.  12S  p.,  $1. 

No.  t^  o(  the  South  Kensington  Museum  Handbooks. 
A  helpful  little  work  in  the  study  ol  ancient  and  med- 
laval  instruments.  787 

rillmore,  John  Comfort. 

Pianoforte  Music,  its  History,  with  Bio- 
graphical  Sketches  and   Critical   Estimates 


of  its   Greatest  Masters.      Phila.,  Theodore 
Presser,  245  p.,  I).  $1.50. 

Unnecess:iri!y  extended  in  its  biographical  depart- 
ment, but  valuable,  especially  to  the  younger  piano 
forte  students,  in  its  e.tposilion  of  the  growth  of  the 
mechanics  of  pianoforte  playing.  786.1 

Fink,  Gottfried  Wilhelm. 

Wkskn  UNI)  GiiscmrnTK  der  Oi'KR.  Lcipsic, 
Georg  Wigand,  183S,  335  p.     O.P. 

Useful  because  of  ihc  paucity  of  books  treating 
specifically  of  the  history  of  opera.  It  ends  with  the 
period  of  Rossini.  782.1 

Galilei,  Vincenzo. 

DiALOGO      1»KLI,A      MUSICA      ANTICA      K      r>EI.LA 

Mi^DERNE.      Florence,    1581.      O.P. 

Extremely  valuable  and  therefore  included  here. 
though  rare  even  in  the  second-hand  shops  of  Ger- 
■many.  The  author  was  the  father  of  the  great  astrono- 
mer Galileo  Galilei,  and  one  of  the  Florentine  coterie 
that  introduced  Iheraonodic  style  of  music.  His  book 
is  a  polemic  in  the  controversy  between  the  reformers 
and  the  contrapuntists.  It  is  also  interesting  as  pub- 
lishing for  the  first  lime  the  three  ancient  Greek  hymns 
of  Dionysius  and  Mesomedes.  (See  Bellermann.)  A 
copv  IS  in  the  Dfcxel  collection,  Lencx  Library,  New 
York.  780 

Hsinslick,  Eduard. 

Geschichte  des  Concertwesens  in  Wien. 
Vienna,  1S69,  Wilhelm  Hraumiiller,  438  p. 
O.P. 

An  extremely  valuable  book,  especially  in  its  earlier 
chapters,  which  tell  of  the  introduction  of  public  con- 
certs, not  only  in  Vienna  but  in  other  European  capi- 
tals. 79L 


Hart,  George. 

The  Violin  and  Its  Music. 

N.  Y. 

Ditsnn, 

i88j,  xi,  484  P'.  $3- 

787.1 

Heron-Allen,  Edward. 

Dk  Finicn.is  Bim.ioGRArHiA;  being  a  basis  of 
a  Bibliography  of  the  Violin  and  all  other 
instruments  played  with  a  bow  in  Ancient 
and  Modern  Times.  Lond.,  Griffith,  Far- 
ran  &  Co.,  II  parts,  2S.  6d.  each;  others 
to  follow.  787 

Hipkins,  A.  J. 

A  Description  and  History  of  the  Piano- 
forte   AND    OF    the    Older     Keyboard 
Stringed  Instruments.     Lond.  and  N.  V.. 
Novello,  Ewer  it  Co.,  12S  p..  $1.20. 
This  book  belongs  to  the  publishers'  '   Music  Prini' 
ers  and  Educational  Series, '      It  is  included  in  this  list 
because  of  the  need  of  a  modern  work  ol  modest  di- 
mensions having  authority.   It  is  a  model  of  condensed 
erudition.  786.1 

Hogarth,  George. 
Memihrs  uf  ihe  Opera   in  Italy,  France. 
Germany,  and  England.     Lond.,  Richard 
Kentley,  1S51,  2  vols.,  376,  371)  p.     O.P. 

Second  edition  of  the  aame  author's  "  Memoirs  ol 
the  Musical  Drama  "  published  in  1838.  782.1 

Hopkins.  Edward  J.,  and  Rimbault,  Edward  F. 

TuEtlRGAN,  Its  History  ANDCoNsiKirrn.N: 
A  Comprehensive  Treatise  on  the  .Structure 
and  Capabilities  of  the  Organ,  with  specifi- 
cations and  suggestive  details  for  instru- 
ments of  all  sizes,  intended  as  a  Handbook 
for  the  Organist  and  .Amateur.  Preceded 
by  an  entirely  new  History  of  the  Organ, 
memoirs  of  the  most  eminent  builders  of 
the  XVII.  and  ,XVIII.  centuries,  and  other 
matters  of  research   in  connection  with   the 


58 


Music  :  Special  Histories. 


subject.     3d   ed.     Lond.,   Robert   Cocks  & 
Co.    N.  Y.,  Schuberth,  1S77,  636  p..  Sio. 

Exhaustive  and  scholarly — though  some  of  Dr.  Rim- 
bault's  stitements  may  be  accepted  with  caution. 

786.5 
Hutchinson,  Rnoch. 

Mfsic  OF  THE  Bible;  or.  Explanatory  notes 
upon  those  passages  in  the  Sacred  Script- 
ures which  relate  to  Music,  including  a 
brief  view  of  Hebrew  Poetry.  Bost., 
Gould  &  Lincoln.  N.  Y.,  Sheldon  &  Co., 
1S64,  513  p.     O.P. 

Very  useful,  especially  for  the  literary  or  theological 
student  who  wishes  to  know  the  significance  of  the 
musical  terms  in  the  Bible.  783 

Kiesewetter,  R.  G. 

SCHICKSALE  UND  BeSCH.IFFENHEIT  DES  WeLT- 
LICHEN  Ges.^nges,  vom  fruhen  Mittelalter 
bis  zu  der  Erfindung  des  dramatischen 
Styles  und  den  Anfangen  der  Oper.  Mit 
Musikalischen  Beilagen.  Leipsicand  N.  Y., 
Breitkopf  &  Hartel,  1S42.  xii.  105  p..  paper. 
$5- 50. 

Indispensable  to  the  serious  student  of  operatic  be- 
ginnings and  the  monodic  style.  The  musical  illustra- 
tions contain  e.xcerpls  from  Pen.  Caccini.  and  Monte- 
verde.  In  an  appendi.x  a  German  translation  of  a  large 
portion  of  Caccini's  Nitove  musiche  printed  in  Flor- 
ence in  1601.  782.1 

Kiesewetter,  R.  G.,  ami  Fetis,  F.  J. 

Verh.vndelinge.n.  Bekroond  en  Uitge\ien 
door  de  Vierde  Klasse  van  het  Koninklijk- 
Nederlandsche  Instituut  van  Wetenschap- 
pen,  Letterkunde  en  Schoone  Kunsten. 
Amsterdam,  J.  Muller  en  Comp.  1S2Q. 
O.P. 

Two  treatises,  crowned  by  the'Royal  Institute  of 
Science,  Literature,  and  Fine  Arts  of  the  Netherlands 
in  1828,  on  the  question  ■  "What  were  the  merits  and 
achievements  of  the  Netherlanders,  particularly  of  the 
XIV.,  XV.,  and  XVI  centuries,  in  the  tield  of  music  ? 
and.  what  was  the  influence  of  the  Netherland  musi- 
cians of  that  period  who  went  to  Italy  on  the  Music 
Schools  which  came  into  existence  in  that  country 
shortly  afterward?"  The  treatise  of  Kiesewetter, 
which  received  the  gold  medal  is  in  German,  that  of 
F^tis,  which  look  the  silver  medal,  is  m  French.  Both 
essays  are  of  value,  and  the  book  is  frequently  Ifsted 
in  the  German  catalogues.  '    780.949 

Krehbielj  Henry  Edward. 

Notes     on    the    Cii.tiv.\tion    of    Choral 
Music,   and   the   Oratorio   Society   of   New 
York.     N.    Y.,    Schuberth,    1SS4,    106    p. 
$1.25. 

The  Philharmonic  Society  of  New  York. 
A  Memorial,  published  on  the  occasion  of 
the  Fiftieth  Anniversary  of  the  Founding 
of  the  Philharmonic  Society,  April,  iSg2,  by 
the  Society.  N.  Y.,  Novello,  Ew.er  &  Co., 
1S92.  1S3  p..  $1. 

Contains  the  full  programmes  of  fifty  years,  fists  of 
officers,  members,  and  subscribers,  etc.  780.9 

Maretzek,  Max. 

Crotchets  and  Quavers  ;  or.  Revelations  of 
an  Opera  Manager  in  America.  N.  Y.,  S. 
French,  1S55.  346  p.,  $2.50.     O.P. 

Sharps  .\nd  Flats,  a  sequel  to  "  Crotchets 
and  Quavers."  N.  Y..  Schuberth,  1S90,  S7 
p..  50  c. 

Recitals  of  memories  and  experiences  in  a  light  vein 
\vhich  are  not  to  be  taken  too  seriously  by  searchers 
for  historical  fact.  The  first  book  is  long  out  of  print, 
but  the  price  is  taken  from  Scnbner's  Musical  Lit- 
erature List.  The  second  appeared  in  paper,  and  the 
American  Musician  Publishing  Co.,  that  originally 
issued  it,  IS  no  longer  in  existence.  782 


Mathews,  W.  S.  B. 

A  HfNDRED  Years  of  Mi'sic  in  America. 
An  Account  of  Musical  Effort  in  America 
during  the  Past  Century,  including  Popular 
Music  and  Singing  Schools,  Church  Music. 
Musical  Conventions  and  Festivals,  Orches- 
tral. Operatic,  and  Oratorio  Music  ;  Im- 
provements in  Musical  Instruments;  Popu- 
lar and  the  Higher  Musical  Education  ; 
Creative  Activity,  and  the  Beginning  of  a 
National  School  of  Musical  Composition.  A 
full  and  reliable  Summary  of  American 
Musical  Effort  as  displayed  in  the  Personal 
History  of  Artists,  Composers  and  Edu- 
cators, Musical  Inventors,  and  Journalists, 
with  upwards  of  200  full-page  Portraits  of 
the  most  distinguished  Workers,  together 
with  Historical  and  Biographical  Sketches 
of  Important  Personalities.  Chic,  G.  L. 
Howe,  1SS9,  715  p.,  S5.50.  780.973 

Mount  Edgecumbe,  Earl  of. 

Musical    Reminiscences,   chiefly   respecting 

the  Italian  Opera  in  England.   3d  ed.   Lond., 

1S2S.     O.P. 

Valuable  for  its  glimpses  into  English  taste  and  cus- 
toms a  centur>*  ago.  782.5 

Naylor,  Edward  W. 

Shakespeare  anm  Music.  With  illustrations 
from  the  music  of  the  XVI.  and  XVII. 
centuries.  Lond.,  J.  M.  Dent  &  Co.  N. 
Y.,  Macmillan,  1S96,  225  p.,  S1.25. 

One  of  the  Temple  Shakespeare  Manuals.   Generally 
correct  and  readable.  780.4 

Paleographie  Musicale. 

F.AC-SIMILES    rHOTOTVrlQUES    DES    PRINCirAUX 

Manuscrits  de  Chant  gregorien,  ambro- 

sien,   mozarabe,  g.\llic,\n,  publies   par  les 

•Ben^dictins  de  Solesmes.     Paris,  Alphonse 

Picard.     Leipsic   and    N.    Y.,    Breitkopf  & 

'Hartel.     Four   numbers  have  been   issued 

each  year  since  1SS9.     Per  year,  $S. 

A  work  of  rare  value  to  all  students  of  mediaeval 

church  music  in  general  and  the  development  of  musical 

notation  in  particular.   The  first  manuscript  reproduced 

IS  the  celebrated  cne  in  the  Library  of  the  Monastery  of 

St.  Gall,  which  Lambillotte  published  (in  lithographic 

/ac-siiuile)    as    the  Antiphouaire  de  Saint   Gregoire 

but  which  Gevaert  has  proved  to  be  simply  a  Cantata- 

riuin — that  is,  the  book  of  a  solo  singer.     The  work  is 

dedicated  to  Pope   Leo  XIII.  and   is  expected  to  be 

completed  by  a.d.  1900.  780.8 

Perkins,  Charles  C,  and  Dwight,  John  S. 

History  of  THE  Handel  and  Haydn  Society 
of    Boston,    Massachusetts.     From    the 
Foundation  of  the   Society  to  its  seventy- 
fifth  season,  1815-iSgo.    Bost.,  Handel  and 
Haydn  Society,  1SS3-1393,  Si. 50. 
This  work,  of  great  value  to  the  study  of  musical 
culture  in  New  England,  was  begun  by  Mr.  Perkins, 
who  was  president  of  the  Hande.  and  Haydn  Society 
from  1875  to  1886.     He  wrote  the  extremely  interesting 
sketch  of  the  music  of  the  Puritans  and  the  history  of 
the  Handel  and  Haydn  Society  to  the  end  of  the  36th 
season.  May.  1851.     Mr.  Perkins  died  in  August,  1886, 
and  Mr.  Dwight,  who  had  edited  D-Lvigbt^ s  Journal 0/ 
Music  for  nearly  thirty  years  (1852-1881),  completed  the 
work.     The  work,  which  was  issued  m  parts  contains 
518  pages  of  historical  narrative;  a  list  of  concerts.  23 
pages;  anl  123  pages  devoted  to  the  Society's  charter, 
by-laws,  and  lists  of  officers  and  members.      780.974 

Reissmann,  August. 

Das  Deutsche  Lied  in  seiner  Historischen 
Entwicklung.     Cassel,    Oswald    Bertram, 
1S61,    290   p..   letter-press,   41    musical   e.\- 
amples.     O.P. 
A  study  of  the  development  of  the  artistic  song  in 


Music  :   Special  Histories. 


59 


Germany,  with  a  brief  preliminary  discussion  of 
Minne-  Master-  and  Folk-Soncs.  The  examples  are  33 
songsof  theXV.,XVI.,  XVII.,  and  XVIII.  centuries. 

784.3 

Riemann,  Hugo. 

.S  [  LIIIEN  ZIK  GESrHiniTE  DER  NOTENSCHRIF  I'. 

Leipsic  and  N.  V.,  Breitkopf  iS:  Hartel.  1S7.S. 

xvi,  316  p.,  with   twelve   plates   illustrating 

the  development  of  notes,  the  staflf,  and  the 

clefs,  S4. 

A  book  that  stands  practically  alone  in  its  depart- 
ment. A  short  treatise  by  the  same  author  on  the  de- 
velopment of  musical  notation  is  printed  as  No,  28  of 
the  Sammirtn^  Musikaiischer  t'ortrage^pxibUsh^d  by 
Breitkopf  &  Hartel  (Leipsic  and  N.  Y.),  22  p.,  30c. 

780.9 

Rimbault,  Edward  P. 

The  Pi.\nofiirte;  its  Origin,  Progress,  anh 
Construction.  With  some  Account  of  In- 
struments of  the  Same  Class  w-hich  pre- 
ceded it,  viz..  the  Clavichord,  the  Virginal, 
the  Spinet,  the  Harpsichord,  etc.  To  which 
is  added  a  Selection  of  Interesting  Speci- 
mens of  Music  composed  for  Keyed- 
Stringed  Instruments.  Lond.,  Cocks.  N. 
Y.,  Schuberth,  1S60,  xi,  420  p.,  $3.75. 

An  important  work.  The  music  in  the  Appendi.x 
consists  of  cf^mpositions  by  Blitheman,  Byrd,  Bull, 
Frescobaldi,  du  Mont,  Chambonnit-res,  Lully,  Purcell, 
Muschhauser,  Kuhnau,  Mattheson,  D.  Scarlatti,  Cnu- 
per;n,  J.  S.  Bach,  Handel,  Muffat,  de  Mondonville,  and 
C  P.  E.  Bi:n.  ■  786.1 

Hitter,  Frederic  Louis. 

Music  in  .^mekic.x.  New  edition  with  ad- 
ditions in  iSgo.     N.  Y.,  Scribner,  521  p.,  $2. 

A  necessary  book  because  its  tield  is  shared  with  no 
other;  but  it  is  ill  balanced  and  its  statements  must  be 
received  with  caution.  780.943 

Sohletterer,  H.  M. 

D.\s  Deutsche  Singstiel,  von  seinen  ersten 
Anfangen  bis  auf  die  neueste  Zeit.  Augs- 
burg, J.  A.  Schlosser,  1863,  340  p.     O.P. 

784.3 

GeSCIIICIITE  per  GeISTLICHEN  DiCHTUNG  UNI) 

KiRCHLicHEN  ToNKUNST,  in  Ihrem  Zu- 
sammenhange  mit  der  Politischen  und  So- 
cialen  Entwickelung  insbesondere  des 
Deutschen  Volkes.  Hanover,  Carl  Riimp- 
ler,  1S69,  588  p.     O.P.  783 

StUDIEN  ZUR  GeSCHICHTE  DER  Franzosischen 
MusiK.  Berlin,  K  Damkohler,  18S4-1SS5, 
$5.80.  780.944 

Schletterer's  contributions  to  musical  history  are  all 
valuable  as  putting  material  into  the  hands  ol  the  stu- 
dent otherwise  difficult  to  arrive  at.  His  study  of  the 
German  Sings/'iei  contains  the  texts  of  a  number  of 
German  and  Latin  Easter  and  Passion  Plays  of  the 
XIII.  to  the  XVII.  century,  as  also  the  text  of  Opitz's 
Da/ne.  His  volume  ol  Studies  in  French  Music  em- 
braces: I.  Historyof  theCourt  Orchestra  of  the  French 
Kinsrs  (from  the  Merovingians  to  Charles  X.),  236  p.; 
II  Historyof  the  Musicians'  Guilds  and  the  Rois  des 
Viotons  of  Paris,  152  n.;  III.  Preliminary  History  and 
First  AKempts  of  the  French  Opera,  199  p. 


Shedlock,  J.  S. 

The    Pianoforte  Sonata  :    its   Origin  and 
Dkveloi'Ment,     Lond.,  Methuen  &  Co.    N. 
Y.,  Scribner,  iSqs.  24;  p.,  Sa. 
\  book  with  a  good  purpose,  well  fulfilled.    786.41 

Vidal,  Antoine. 

Les  iNStKUMENTS  A  Arciiet;  les  Faiseurs,  les 
joueurs  d'instruments,  leur  Histoire,  sur 
le  Continent  Europfeen.  Suivi  d'un  Cata- 
logue general  de  la  Musique  de  Chambre. 
Ornfe  de  planches  gravies  a  I'eau  forte,  pa<r 
Frederic  Hillemacher.      Paris,  Jules  Cl'aye, 

1877,  3  vols.     O.P. 

A  magnificent  work  in  its  scope  and  matter  as  well 
as  Its  artistic  execution.  Practically  tt  is  out  of  print 
and  is  usually  bought  at  second  hand.  In  1889  the  por- 
tion referring  to  manufacture  was  reprinted  under  the 
title.  La.  Luthnrie  et  ies  LtithicrSy  Paris,  Ouantin, 
25  fr.  787 

Wasielewski,  W.  J.  von. 

GESCIIICIITE        DER       INSTRUMENTALMUSIK       IM 

XVI.  Jahriiunderf.    Mit  .\bbildungen  von 
Instrumenten  und  .Musikbeilagen.     Berlin, 

1878,  J.  Guttentag,   170  p.,   letter-press;  10 
plates;  gj  p.  of  music,  $1.75. 

An  admirable  study.  Chapter  I.  treats  of  the  musical 
instruments  of  the  XV.  and  XVI.  centuries,  II.,  of 
musical  practice  in  the  XVI.  century;  III.  and  IV.,  of 
composition.  780.9 

The  Violoncello  and  its  History.  Ren- 
dered into  English  by  Isobella  S.  E.  Sti- 
gand.  With  Illustrations,  Musical  Exam- 
ples, and  Portrait  of  Robert  Lindlev.  N. 
Y..  Novello,  Ewer  i:  Co.,  $2.40.  '787.3 

Weitzmann,  C  F. 

Historyof  Pianoforte  Playing  and  Piano- 
forte Literature.    With  Musical  Appen- 
dices   and    a    Supplement    containing    the 
History  of  the  Pianoforte  according  to  the 
latest  researches.     Illus.    With  a  biograph- 
ical sketch  of  the  author  and  notes  by  Otto 
Lessmann.     Transl.  by  Dr.  Th.  Baker.    N. 
v.,  Schirmer,  37g  p.,  S2.50. 
An  accepted  authority.    Contains  specimens  of  com- 
positions for  keyed  instruments  from  the  XVI.,  XVII  , 
and   XVIII.  centuries,  and  an  exposition  of  the  old 
ornaments  and  graces.  786.1 

Winterfeld,  O.  von. 

Johannes  Gabrieli  und  sein  Zeitalter.  Zur 
Geschichte  der  Bliithe  heiligen  Gesanges 
im  sechzehnten,  und  der  ersten  Entwick- 
elung der  Hauptformen  unserer  heutigen 
Tonkunst  in  diesem  und  dem  folgenden 
Jahrhunderte,  zumal  in  der  Venedischen 
Tonschule.  Berlin,  Schlesinger.  2  vols. 
(the  second  devoted  to  musical  illustrations 
wholly).     O.P. 

The  inaster-work  of  one  of  the  soundest  of  Ger- 
many's musical  historians.  It  is  invaluable  for  a  study 
of  the  Venetian  masters,  Giovanni  Gabrieli,  Adrian 
Willaert,  Cyprian  de  Rore,  Zarlino,  Merulo.  Andrea 
Gabrieli.  their  immediate  predecessors  and  successors, 
as  also  the  first  musical  dramatists.  782 


6o 


Ancient  and  MedicEval  Musk. 


PART    III. 


ANCIENT    AND    MEDLtVAL    MUSIC. 


Arends,  Leopold  A.  F. 

Uf.hek  den  Sprachgesang  der  Vorzeit  und 

DIE  HeRSTELLKAKKEITDER  ALTHEBRAISCHEN 

VocALMUSlK.  Mit  entsprechenden  Musik- 
beilagen.  Berlin,  Friedr.  Schulze,  1S67. 
123  p.     O.P. 

An  extremely  valuable  dissertation  on  the  nature 
and  employment  of  music  among  the  peoples  of  classic 
antiquity,  with  an  experiment  in  the  restoration  of  He- 
brew music  on  the  basis  of  vowel  values.  780.9 

Bellermann,  Friedrich. 

Die  Hymnex  des  DinNvsirs  und  Mesomedes. 
Text  und  Metodieen  nach  Handschriftcn 
und  den  alten  Ausgaben.  Berlin.  Albert 
Forstner,  1840,  S3  p.,  with  4  plates  in  fai- 
simtlc.     O.P. 

A  study  of  the  three  Greek  hymns  to  Calliope, 
Apollo,  and  Nemesis,  first  made  public  by  Vincenzo 
Galilei  (see)  The  author  treats  1..  The  sources  and 
literature  ol  the  hymns;  II  Criticism  and  exposition 
of  the  texts;  III  .  Metre,  superscriptions,  glosses,  and 
authors;  IV.,  Criticism  and  exposition  of  the  melodies. 

783.9 

Coussemaker^  "E.  de. 

CEuvRES  Completes  dit  Trouvere  Adam  de 
LA  Halle  (poesies  el  musique).  publiees 
sous  les  auspices  de  la  Socifete  des  Sciences 
des  Lettres  et  des  Arts  de  Lille.  Lille,  A. 
Durand  cS:  Pedone-Lauriel.  1S72.  440  p. 

A  superb  work,  containing  a  biographical  sketch  of 
de  la  Halle  (an  extremely  important  figure  in  mediaeval 
music  and  the  drama),  a  review  of  the  existing  manu- 
scripts of  his  works,  a  study  of  his  musical  compositions, 
and  a  reprint  of  his  complete  works,  with  glossary  and 
a  translation  of  his  music  into  modern  notation.      782 

Gevaert,  Frangois  .Anguste. 

Les    Origines    du    Chant    Liturgiqite    de'- 
l'^liseLatine.  Paris.  A.  Picard.  1890.  5  fr. 

Der    Ursprung    des    ROmischen   Kirchen- 

GESANGES.        Musikgeschichtliche      Studie. 

Deutsch  von   Dr.  Hugo  Riemann.     Leipsic 

and  N.  Y.,  Breitkopf'^&  Hartel,  1891,  87  p.. 

$r.i5. 

A  revolutionary  book,  which  overturns  the  fiction 
current  for  centuries  touching  the  significance  of 
Gregory  the  Great  in  the  history  of  Church  music 

783.5 
Hope,  Robert  Charles. 

Medi.evai.    Mrsic  :     An    Historical    Sketch. 

Lond.,  Elliot  Stock,  1S94,  iSi  p..  5s. 

Useful  as  a  concise  compendium,  but  not  always  to 
be  trusted,  especially  in  the  department  of  ancient 
music.  780  9 

Kiese\retter,  R.  G. 

GuiDO  VON  Arezzo.  Sein  Leben  -und 
WiRKEN.  Aus  Veranlassung  und  mit  be- 
sonderer  Riicksicht  auf  eine  Dissertation- 
Sopra  la  vita,  li  opere  id  il  safen  Ji  Gtiido 
d'Art'Zzo,  von  Luigi  Angeloni.  Nebsl 
einem  Anhange  tlber  die  dem  heiligen 
Bernhard  zugeschrieben  musikalischen 
Tractate.  Leipsic  and  N.  Y..  Breitkopf  & 
Hartel,  1840,  55  p.,  paper,  go  c.        780.945 

liZimbillotte,  IiOiiis. 

Antiphonaire    de    Saint    Gregoire.      Fac- 


simile du  manuscrit  de  Saint  Gall  (copie 
authentique  de  I'Autographe  ecrite  vers 
I'an  790),  accompagne  i,  d'une  notice 
historique;  2,  d'une  dissertation  donnant  la 
Clef  du  chant  Gr6gorien,  dans  les  antiques 
notations  ;  3,  de  divers  monuments,  ta- 
bleau.\  neumatiques  inedits.  etc.  etc.  150 
Planches.  Brussels.  Ch.-J.-A.  Greuse, 
1867,  234  p.     O.P. 

A  reproduction,  with  commentary,  of  the  famous 
codex  390  of  the  library  in  the  Monastery  of  St.  Gall, 
Switzerland.  The  original  edition  appeared  in  1851. 
(See  Gevaert .  and  PaWo^rafihie  /nusicale.  783.5 

Musici  Scriptores  Graeci. 

Aristoteles,  Euclides,  Nicomachus,  Bac- 
CHius,  Gaudentius,  Alvpius,  et  Melodi- 
ARUM  Veteri'm  Quiquid  E.xstat.  Racogno- 
vit  prooemis  et  indice  instruxit  Carolus 
Janus.  Annexae  sunt  tabulae.  Leipsic, 
Teubner,  1S95.  503  p..  $2.40. 

This  publication  places  within  easy  reach  of  scholars 
the  ancient  musical  treatises  for  which  until  recently 
they  were  obliged  to  depend  chiefly  upon  the  work,  A  u- 
tiijuce  niusicip  aitctores  septern.  published  by  Meibom 
in  Amsterdam,  1652.  This  latter  is  not  infrequently 
.  met  with  in  the  catalogues  of  the  German  dealers  in 
second-hand  musical  books,  but  it  is  a  treasure  and  the 
price  IS  prohibitive  t.?  all  except  the  rich  (generally 
about  $25)  Copies  can  be  consulted  in  New  York  at 
the  Astor  Lenox  and  Columbia  University  libraries. 
The  new  work  issued  in  the  Bihtiotheca  Scrifitorum 
GrtecoruHi  ft  Roiitanoritnt  Teitbncriana  is  not  only 
cheap  but  it  is  voluminously  annotated  and  indexed, 
prefaced  with  a  study  of  the  manuscripts  and  supple- 
mented with  brief  essays  on  the  existing  relics  of 
ancient  Greek  music  (see  C.  F.  Abdy  Williams  and  Bel- 
lermann) which  are  given  in  their  original  and  modem 
notations  The  editor  rejects  the  music  of  the  first  Pythic 
hymn  by  Pindar  given  by  Kircher  as  a  fabrication. 

780.9 
Paul,  Oscar. 

Die  Absolute  Harmonik  der  Griechen. 
Eine  Abhandlung  zur  habilitation  in  der 
philosophischen  Facultat  der  Universitat 
Leipzig.  Leipsic,  Alfred  Dorffel,  1S66.  44 
p.  letter-press  and  33  p.  tables  and  plates. 
O.P.  781.3 

BoETius  UND  die  Griechische  Harmonik. 
Des  Anicius  Manlius  Severinus  Boetius 
ftjnf  Bticher  iiber  die  Musik.  aus  der  Latei- 
nischen  in  die  Deutsche  Sprache  iiber- 
iragen  und  mit  besonderer  beriicksichti- 
gung  der  Griechischen  Harmonik,  erklart. 
Leipsic,  F.  E.  C.  Leuckart,  1S72,  379  p. 
O.P. 

A  translation  into  German  of  the  De  Musica  by 
Bo'L-thius,  preceded  by  a  brief  outline  of  the  harmonic 
system  of  the  Greeks,  and  an  essay  on  the  life  of  the 
philosopher  and  his  importance  in  music.  Then  follows 
an  exhaustive  exposition  of  the  treatise,  with  numerous 
tables  and  /ac-siinite  reproductions  from  mediaeval 
codices.  781.3 

Saalschiitz,  Joseph  Levin. 

GeSCHICHI'E  UND  W'URIIIGUNG    DER   MUSIK  EEI 

DEN  Hebraern,  im  Verhallniss  zur  sonsti- 
gen  Ausbildung  dieser  Kunst  in  alter  und 
neuer  Zeit,  nebst  einem  Anhange  uber  die 
Hebraische  Orgel.  Berlin,  G.  Fincke,  1S29, 
141  p.  O.P. 
A  little  book  of  unique  value.     It  follows  a  chrono- 


Folk- Song  and  National  Music. 


6i 


loc:ical  plan  in  treitingof  the  practice  of  music  amongst 
the  Hebrews  of  Bible  limes,  and  compares  their  in- 
struments with  those  of  the  ancient  Greeks  and  modern 
Arabs,  In  an  appendix  is  a  treatise  on  the  Mit^rc/^fta 
of  the  Talmud,  which  is  held  to  be  an  organ.     '780.9 

Schubiger,  P.  Anselm. 

DiK  S;\Nr,ERSCHUl.F.  St.  Gai.i.ens  vom  achtf.n 

ms  zwi'ii.FTE.v  Jahkhundert.     Ein  Beitrajj 

zur  Gesanggeschichte  des  Mittelalters.     N. 

Y.,  Benziger  Bros.,  1S5S,  60  p.     $2.50. 

Long  a  recogrnized  authority  on  the  history  of  the 

medixval  Church  chant.  But  see  Gevaert,  Les  orii^im-s 

^u  Chant  Litursi<litc  de  r Eglist'  Latine,  Lambillotte, 

Antifihonairc  de  Sai'/tt   Crc^utrij,  and   PaUos't-af'hit- 

musicaie.  783,5 


Sokolowsky,  B.  von. 

etc.) 

Stainer,  John. 


{Sci-  Ambros,  Gesihiclite, 


The  Music  of  the  Bible,  with  an  account 
of  tht  Development  of  Modern  Musical  In- 


strutnents    from    Ancient   Types,     N.    Y., 

Cassell,  iSf)  p.,  $1.50.     O.P. 

An  excellent  treatise.  783 

Westphal,  Rudolf. 

Hakmiimk    INI)    Mf.i.opOie   der   Grif.chev. 

l.eipsic,  H.  G.  Teubner,  1863.  372  p.     O.P. 

Like  all  the  other  works  of  Westphal,  clear  and  au- 
thoritative. 781.3 

Plutarch  uber  die  Musik.     Leipsic,   F.  E. 
C.  Leuckart,  1S65,  95  p.     O.P. 

The  text  of  Plutarch's  IIKPI  .MDTillK' Hi)  toRcther 
with  a  German  translation,  a  commentary  on  the  pres- 
ervation of  the  text  and  explanatory  notes.  780.9 

Williams,  C.  F.  Abdy. 

The  Music  of  the   Ancient   Greeks,  with 
Notes   and   Translations.     N.  Y.,   Novello, 
Ewer  &  Co.,  8  p.,  paper,  20  c. 
Contents  :  Pindar's  first  PythicOde  (frora.Kircher's 
liFusur^ia.  1650).  Hymn  to  Apollo,  discovered  at  Del- 
phi in  i8q3,  the  epitaph  discovered  in  1882  at  Tralles, 
near  Ephesos,  and  the  three  hymns  of  Dionysius  and 
Mesomedes  (see  Bellermann).  780.9 


PART    IV. 


FOLK-SONG    AND    NATIONAL    MUSIC. 


Allen,  W.  F.,  Ware,  C.  P.,  and  Garrison,  Lucy 
McKim. 

Slave  Songs  of  the  United  States.  N. 
Y.,  A.  Simpson  &  Co.,  1S67,  .\x.\viii,  115  p. 
O.P. 

Important  for  the  study  of  folk-song  in  America. 
<;ontains  136  songs  collected  in  South  Carolina,  Geor- 
gia, the  Sea  Islands,  Delaware,  Maryland,  Virginia, 
North  Carolina,  Tennessee,  Arkansas,  Florida,  and 
Louisiana.  Also  an  extremely  interesting  study  of 
slave  characteristics.  784.7 

-Amiot,  Ph-c  Joseph. 

Memoire  sir  la  Musique  des  Chinois,  tant 
Anciens  que  Modernes.     Paris,  1780.    O.P. 

This  treatise,  the  work  of  a  Jesuit  missionary,  was 
long  the  chief  source  of  information  touching  Chinese 
music.  It  forms  Vol.  VI.  of  the  Memoires  concernant 
V histoire.  tes  sciences,  /es  arts,  /es  tncettrs,  les  usages, 
etc.,  des  Chinois.  /-ar  les  tnissionaires  de  Pekin.  A 
small  edition  was  separately  printed  m  1779.  It  has 
not  been  issued  in  English,  but  a  German  abstract  ex- 
ists in  manuscript  in  the  collection  of  musical  books 
made  by  Joseph  W.  Drexel,  now  incorporated  with  the 
Lenox  Library,  New  York.  780.951 

Baker,  Theodor. 

Ueber  die  Musik  der  Nordamerikaxischen 
WiLDEN.  Eine  Abhandlung  zur  Erlangung 
der  Doctorwiirde  an  der  Universitiit  Leip- 
zig.    Leipsic,  1SS2.     O.P. 

A  study  of  the  music  of  North  American  Indians 
written  as  a  thesis  for  the  degree  of  Ph.D.  at  the  Uni- 
versity of  Leipsic.     Only  to  be  had  at  second-hand. 

780.973 

Soas,  Franz. 

Second  General  Report  on  the  Indians 
OF  British  Columbia.  Published  in  the 
Sixth  Report  on  the  Northwest  Tribes  of 
Canada  made  to  the  British  Association 
for  the  Advancement  of  Science  at  the  Leeds 
meeting  in  1890.  Offices  of  the  Associa- 
tion, Burlington  House,  Lond..  W.,  2S.  6d. 
Contains  interesting  studies  of  the  games  and  cere- 


monies of  the  Nootka,  Salish,  and  Kwakiufl  tribes  of 
the  Pacific  Coast,  with  the  incidental  music. 

780.973 
Boehme,  Franz. 

Geschichte  des  Tanzes  in  Deutschland. 
Beitrag  zur  deutschen  Sitten-,  Litteratur- 
und  Musikgeschichte.  Nach  den  Quellen 
zum  ersten  Mai  bearbeitet  und  mit  alten 
Tanzliedern  und  Musikproben  herausgege- 
ben.  Leipsic  and  N.  Y.,  Breitkopf  &  Har- 
tel,  1S86,  2  vols.,  vii,  339,  221  p.,  SS. 

An  admirable  book.  Vol.  I.  is  devoted  to  a  histori- 
cal and  technical  study  of  the  dances  which  found 
their  way  into  Germany;  Vol.  II.  to  musical  examples. 

786.46 

Brown,  Mary  E.,  and  Brown,  William  Adams. 

Musical   Instruments   and   their    Homes. 
With    270  illustrations   in  pen  and   ink  by 
William  Adams  Brown,  the  whole  forming 
a  complete  catalogue  of   the   Collection  of 
Musical  Instruments  now  in  the  possession 
of  Mrs.    y.  Crosbv   Brown,  of    New  York. 
N.  Y.,  Dbdd,  Mead  &  C<i.,  3S0  p.    O.P. 
The    collection    of   instruments    described    in    this 
sumptuous  volume  is  now  deposited  in  the  Metropoli- 
tan Museum  of  Art,  New  \ork.    The  book  is  mucli 
more  than  a  catalogue.     It  contains  chapters  on   the 
music  of  many  races,  tribes,  and  peoples,  which,  while 
they  do  not  always  disclose  soundness  of  scientific  dis- 
cernment on  the  part  of  the  writers,   show  at   least 
patience  and  industry  in  the  study  of  original  sources 
which  are  mentioned.  787 

Ohappell,  William. 

Old  Enih.ish  Popular  Music.  New  edition  with 
preface  and  notes,  and  the  earlier  ex- 
amples entirely  revised  by  H.  Ellis  Wool- 
dridge.  Lond.,  Chappell,  1S93,  2  vols., 
220.  220  p.,  42s. 

A  carefully  edited  and  beautiful  reprint  of  an  in- 
valuable work.  784  4 

Day,  C.  ft. 

The   Music   and   Musical   Instruments  of 


62 


J^o!k-So/:s:  ami  National  iM'us 


SouTiiKKN  India  anh  the  Deccan.     With 
an  introduction  by  A.   J.   Hipkins,   F.S.A, 
The  plates  drawn  by  William  Gibb.     N.  Y., 
Novello,  Ewer  &  Co.,  173  p.,  $25. 
A  sumptuous  work,  the  edition  limited  to  700  copies 
on  plate  paper  and  53  artist's  proofs  on  Japanese  paper. 
It  contains  17  chromo-llthographic  plates  besidesdraw- 
ings  of  musical  instruments.    The  letter-press  discusses 
the  history,  theory,  and  uses,  both  sscular  and  relig- 
ious, of  Indian  music,  describes  the  instruments  de- 
lineated by  the  colored  plates,  gives  a  list  of  famous 
musicians  and  a  comprehensive  bibliography.  780.054 

De  la  Villemarque.     See  Villemarque. 

Edwards,  Charles  L. 

Baham.\  Songs   .\nd    Stories.     A  contribu- 
tion to  Folk-Lore.     lUus.     Bost.,  Houghton, 
Mifflin  &  Co.,  1S95,  xiii,  iii  p.,  $3.50. 
One  of  the  memoirs  of  the  American  Folk-Lore  So- 
ciety.   The  author  and  compiler  is  Professor  of  Biol- 
ogy in  the  University  of  Cincinnati.  784.3 

Engel,  Carl. 

The  Music  of  the  Most  Anxient  N.a.tions. 
Lend.,  Murray,  1S64,  379  p.     O.  P. 

An  I.NTROnUCTION  TO  THE  STUDY  OF  NA- 
TIONAL Music.  Lond.,  Longmans,  1S66, 
435  P-     O.P. 

The  Literature  ok  National  Music. 
N.  Y.,  Novello,  Ewer  &  Co.,  108  p.,  $2. 

This  last  is  a  reprint  of  an  essay  published  in  in- 
stalments from  July,  1878,  to  March,  1879,  in  The  Mu- 
sical Tinrcs  of  London.  It  is  to  be  commended  to  the 
student  of  folk-music  as  an  aid  in  the  most  difficult 
feature  of  his  study — the  procurement  of  evidence  and 
authorities.  '  784.4 

£!rk,  IiUd\7ig,  <iH(/Bohme,  Franz. 

Deutscher  Liederhokt.  Auswahl  der  vor- 
zuglicheren  Deutschen  Volkslieder,  nach 
Wort  und  Weise  aus  der  Vorzeit  und  Gegen- 
wart.  Leipsic  and  N.  Y.,  Breitkopf  iS:  Har- 
tel.  1SS3-1S94,  3  vols.,  i.\,  656,  Soo,  919  p., 

$i5-90- 

A  monument  to  German  erudition,  patience,  and 
painstaking.  The  result  of  a  li/etime  of  labor  devoted 
to  one  end.  The  three  volumes  contain  217^  folk- 
songs (melodies  and  words),  with  notes  and  variants. 
Erk  died  in  1883,  when  his  collection  was  almost  ready 
for  publication.  Emperor  William  I.  ordered  its  pur- 
chase for  the  Library  of  the  Royal  Hochschule  /ur 
Musik  in  Berlin,  and  the  Prussian  Minister  of  Educa- 
tion ordered  its  publication.  784.3 

Fletcher,  Alice  C. 

A  Study  of  Omaha  Indian  Music.     With  a 
Report  on  the    Structural    Peculiarities   of 
the  Music  by  John  Comfort  Fillmore,  A.M. 
Cambridge,  Peabody  Museum  ci  American 
Archreology  and  Ethnology,  June,  1893. 
In  many  respects  the  most  suggestive  and  valuable 
contribution  yet  made  to  the  study  of  music  in  its  rela- 
tion to  ethnology.     In  the  work  of  writing  down  the 
music  of  the  Omaha  songs  Miss  Fletcher  had  the  help 
of  Miss  Sarah  Eliot  Newman,  and  in  the  task  of  trans- 
lation and   interpretation  of  Francis  La  Flesche,  an 
Omaha  Indian  in  the  employ  of  the  Indian  Bureau  in 
Washington.  784.3 

Gagnon,  Ernest. 

Chanson  Populaires  du  Canada  recuellies 
et  publiees  avec  annotations  etc.     Quebec, 

1880,  350  p. 

An  excellent  collection,  and  generous  in  its  collation 
of  variant  readings.  784.3 

Isawa,  S. 

E.ktracts  from  the  Report  of  the  Direc- 


tor   OF    THE     I.NSIITUTE    OK    MuSIC,  O.V  TH;; 

Result  of  the  Investigations  Concern- 
ing Music,  undertaken  by  order  of  the 
Department  of  Education,  Tokio,  Japan. 
Transl.  by  The  Institute  of  Music. 

An  account  of  the  musical  reform  undertaken  by  the 
Japanese  Government  in  1871,  as  the  result  of  which 
Occidental  methods  were  introduced  in  musical  instruc- 
tion in  Japan.  780.052 

Istomin,  Th.  M.,  and  Liitsh,  G.  O. 

Pksm  Rousk.\go  Naroda,  Sokrani  v  Gou- 
berniah  Archangelskoi  I  Oi.onetskoi,  V 
1SS6  godon.  Zapissali,  slova,  Th.  M. 
Istomin,  napevy,  G.  O.  Liitsh.  Isdano 
Imperatorskim  Rousskim  Geograficheskim 
Obstchestvom,  na  sredstva  Vissochaishe 
darovannie.  Sanktpeterbourg,  Tipographia, 

E.  Arnholdt,  1S94,  245  p.  All  of  which 
signifies  in  English:  Songs  ok  the  Rus- 
sian People,  collected  in  the  Provinces 
OF  Archangel  and  Olonetz,  in  the  year 
1S86.  Words  by  Th.  M.  Isjomin-,  music  by 
G.  O.  Liitsh.  Published  by  the  Imperial 
Russian  Geographical  Society  at  the  e.\- 
pense  of  the  Emperor.  St.  Petersburg. 
Printed  by  E.  Arnholdt,  1S94. 

The  book  is  invaluable  to  students  of  Russian  folk- 
song, though  it  has  the  drawback  of  being  wholly  in 
Russian.  It  contains  119  songs  taken  down  by  experts 
from  the  mouths  of  the  people.  784.3 

Kieseivetter,  R.  G. 

Ueber  die  Musik  der  neueren  Griechen, 
nebst  freien  Gedanken  tiber  Altegyptische 
und  altgriechische  Musik.  Mi't  VIII. 
Tafeln.  Leipsic  and  N.  Y.,  Breitkopf  & 
Hartel,  1838,  64  p.,  5  plates,  paper,  $3.60. 

Die  Musik  der  Araber,  nach  Originalquellen 
dargestellt,  begleitet  mit  einem  Vorworte 
von  dem  Freiherrn  v.  Hammer-Purgstall. 
Leipsic  and  N.  Y.,  Breitkopf  &  Hartel, 
1S42.  With  6  illustrations  in  the  text  and 
26  pages  of  musical  illustrations  showing 
the  Arab  scales  and  a  number  of  Egyptian, 
Arabian,  Persian,  and  Turkish  songs.  96 
and  xxvi  p.  paper.  S3. 60. 

Though  old,  both  of  these  valuable  books  are  still  in 
the  stock  of  the  publishers  and  may  be  had  at  the  price 
quoted.  784.3 

Liszt,  Franz. 

Des  Boh^miens  et  pe  i.eur  Musique  en 
HoNGRiE.  Nouvelle  edition.  iSSi.  Leip- 
sic and  N.  Y.,  Breitkopf  &  Hartel,  iv,  540- 
p.,  ?5-5o. 

Die  Zigeuner  und  hire  Musik  in  Ungarn. 

Deutsch    bearbeitet    von     Peter   Cornelius. 

Leipsic  and  N.  Y.,  Breitkopf  &   Hartel,  259. 

p.,  I4.20. 

A  translation  into  German  by  Ramann  makes  up 
Vol.  VI.  of  Liszt's  Gcsanntielte  Schri/ten.  The  first 
German  edition  was  published  in  1861  by  G.  Hecke- 
nast,  Pesth.  The  value  of  the  book  for  scientific  study 
IS  impaired  by  the  fact  that  Liszt  conceived  all  Magyar 
music  to  be  of  gypsy  origin.  780.943 

Marsh,  J.  B.  T. 

The  Story  ok  the  Jubilee  Singers,  with 
THEIR    Songs.     Rev.   ed.     Ravenna,  Ohio, 

F.  J.  Loudin,  243  p.,  85  c. 

Contains  the  story  of  the  first  tours  through  America 
and  Europe  by  the  Jubilee  Singers  of  Fisk  LTniversity, 
a  brief  note  on  the  music  by  Theodore  F.  Seward,  and 
112  "spiritual  "  slave  songs  from  the  Southern  States. 

784.T 


Musical  Biography. 


63 


Van  Aalst,  J.  A. 

Chinese  Mi'sic.  Lor.d.,  P.  S.  KIml;  >.^  Son, 
18S4,  84  p. 

This  is  one  of  the  official  publications  of  the  Statisti- 
cal Department  of  the  I  nspectorate  General  of  Customs 
::t  Shanghai.  It  is  an  extremely  valuable  contribution 
10  the  subject  of  Chinese  music  and  contains  many  ex- 
amples; also  an  account  of  the  rites  performed  at  the 
Temple  of  Confucius  in  the  presence  of  the  Emperor. 

780.951 

Villemarque,  Th.  Hersart  dela. 

Barz.\z-Breiz.  Chants  Populaires  de  la  Bre- 
tagne,  recueillis  et  publies  avec  une  Traduc- 
tion fran9aise,  des  Arguments,  des  Notes 
et  les  Melodies  originales.  4""'ed.  Part's, 
A.  Franck,  1846,  2  vols.,  xi.\,  400,  492  p.,  56 
p.  of  music.    O.P. 

Supreme  in  its  department.  In  1841  fifty-three  of 
the  songs  were  translated  into  German  by  A.  Kelltr 
and  E.  von  Seckendorff  and  published  by  L.  F.  Fues  in 
Tubingen.  This  edition  along  with  the  later  French 
version  is  occasionally  to  be  met  with  at  second-hand. 

784.4 
Walker,  Joseph  O. 

Historical  Memoirs  oe  the  Irish  Bards. 


Interspersed  with  Anecdotes  of  and  occa- 
sional Observations  on  the  Music  of  Ire- 
land. Also,  an  Historical  and  Descriptive 
Account  of  the  Musical  Instruments  of  the 
Ancient  Irish,  and  an  Appendi.\  containing 
several  Biographical  and  other  Papers, 
with  select  Irish  Melodies.  Lond.,  17S6, 
the  body  of  the  book  166  p.,  the  Appendix 
129  p.     O.P. 

An  important  work,  seldom  appearint;  in  second- 
hand lists.  There  is  a  copy  in  the  Lenox  Library,  New 
York.  The  appendi.x  contains  dissertations  on  the 
ancient  Irish  harp,  the  style  of  ancient  Irish  music,  the 
poetical  accents  of  the  Irish,  the  bat^nipe  (in  Italian), 
memoirs  of  Cormac  Common,  an  "Account  of  three 
Brass  Trumjicts  found  near  Cork,  with  Remarks  there- 
on," an  essay  "  On  the  Construction  and  Capability  of 
the  Irish  Harp,  in  its  Pristine  and  Present  State,"  and 
a  number  of  old  Irish  melodies.  780.04  i  5 

Wallaschek,  R. 

Primitive  Music.  An  Inquiry  into  the  Ori- 
gin and  Development  of  Music,  Songs,  In- 
struments, Dances,  and  Pantomimes  of  Sav- 
age Races.  N.  Y.,  Longmans,  x.\ii,  326. 
9  p.,  $4.50.  780.9 


PART    V 


BIOGRAPHY. 


Apthorp,  William  F. 

Hector  Berlioz  ;  Selections  from  His  Let- 
ters and  yEsthetic,  Humorous,  and  Satiri- 
cal Writings.  Transl.,  with  biographical 
sketch   of  the  author.     N.  Y.,  H'olt,  427  p. 

A  readable  translation  of  well-chosen  extracts  from 
Berlioz »  French  writings,  "First  Journey  to  Ger- 
many," "  Musical  Grotesques,"  and  "  A  Travers 
Chants."  In  an  appendix  are  M.  Guillaume's  dis- 
course at  the  funeral  of  Berlioz  and  a  catalogue  of 
Berlioz's  compositions.  785 


See  Poole,  Reginald 


Bach,  Johann  Sebastian. 

Lane;  Spitta,  P. 

Saini,  Giuseppe. 

Memorie     storio -critiche    della   Vita    e 
delle   ol'ere   di   giovanni    plerluigi  da 
Palestrixa. 
See  Kandler.  783 

Beethoven,  Ludwig'van. 

Thematisches    Verzeichniss    sammtlicher 
IM   Druck   erschienen  Werke   VON    LUD- 
wiG  VAN  Beethoven.     Leipsic  and  N.  Y., 
Breitkopf  cS:  Hartel,  1S51,  $3.80. 
'' Catalogues  of  Beethoven's  works  were  attempted 
by  Artana,  Hofmeister,  and  Cranz,  but  the  first  one 
worthy  of  the  subject  was  issued  by  Breitkopf  &  Har- 
tel  in   1851 — '  Theimtisches    I't'rzeichniss,^  etc.,  large 
8vo,  r67  p.     The  second  edition  of  this,  edited  and  en- 
riched  with  copious  notes,   remarks,  appendices,  in- 
dexes, etc..  by  Mr.  G.  Nottebohm  (Leipzig,   1868,  pp. 
1,  220),  leaves  little  to  be  desired.      It  is  arranged  in 
the  order  of  the  opus  number  of  the  pieces — where 
they  are  numbered — that  is  to  say,  in  the  order  of  pub- 
lication."— Sir  George  Grove. 

Both  editions  are  occasionally  listed  in  second-hand 
catalogues.  The  first  edition  may  be  consulted  in  the 
DrexeT  collection,  Lenox  Library,  New  York. 

For  Lives  of  Beethoven  see  under  Marx,  A.  B.*  Nohl, 
L.;  Nottebohm,  G.;  Oulibischeff,  A.;  Schindler.  /.; 
Thayer,  A.  VV.  780.943 


Benedict,  Siy  Julius. 

Weber.  (Great  Musicians  series  of  biogra- 
phies, edited  by  Francis  Hueffer.)  Lond., 
Sampson  Low.  N.  Y.,  Scribner,  176  p.,  Si. 
A  well-written  and  authoritative  book  which derivec 

special  interest  from  the  fact   that  the  author  was  z. 

pupil  of  Weber.     A  valuable  feature  is  the  descriptive 

catalogue  of  Weber's  compositions.  785 

Berlioz,  Hector. 

AuiOKiOGRArHY.  From  1S03  to  1865.  Com- 
prising His  Travels  in  Italy,  Germany,  Rus- 
sia, and  England.  Transl.  by  Rachel  (Scott 
Russell)  Holmes  and  Eleanor  Holmes.  N. 
Y.,  Macmillan,  1884,  2  vols.,  336,  411  p., 
S3. 

A  necessary  help  to  a  study  of  the  eccentric  French 
g-enius,  but  as  a  literary  work  wofully  deficient  in  that 
It  has  no  index  and  few  references  to  dales. 
See  Life  under  Apthorp,  W.  F.  785 

Bombet,  L.  A.  C. 

The  Lii-k  of  Haydn,  in  a  series  of  Letters 
written  at  Vienna.  Followed  l)y  Ti!K  Life 
OF  Mozart,  with  observations  on  Metasia- 
sio  and  on  the  Present  State  of  Music  in 
France  and  Italy.  Transl.  from  the  French. 
Lond.,,  John  Murray,  1S17,     O.F. 

A  fascinating  book  but  a  shameless  plagiarism.  The 
original  was  published  in  Parrs  in  1814.  The  first  Eng- 
lish edition  appeared  in  1817,  the  second  a  year  later, 
both  in  London.  Reprints  were  published  in  Provi- 
dence in  1820,  and  Boston  in  1839.  Though  ciairaing  to 
bs  original  the  book  is  little 'else  than  a  translation  of 
an  Italian  work  entitled  Lc  Haydiue  oTTero  Lettere 
sulla  I'ita  e  le  Opere  del  ceiebre  Maestro  Giusrppe 
Haydny  by  Giuseppe  Carpani,  an  edition  of  which  aj  - 
peared  in  Milan  in  1812.  Bombet  was  the  pseudonym 
of  Henri  Beyle.  Both  works  may  be  consulted  at  the 
Lenox  Library,  New  York  (Drexel  Collection).       785 

Brahms,  J.     See  Deiters,  H.,  and  Fuller-Mait- 
land,  J.  A. 


64 


Musical  Biography. 


Carpani,  Giuseppe. 

Le  Haviune.  Ovvero  Lettere  sulla  Vita  e  le 
Opere  del  celebre  Maestro  Giuseppe  Haydn. 
See  Bombet.  785 

Cherubini.     See  Crowest,  F.  J. 

Chopin.   See  Karasowski,  M.;  Liszt,  F. ;  Niecks, 
F. 

Chrysander,  Friedrich. 

G.  F.  Handel.    Leipsic  and  N.  Y.,  Breitkopf 

&  Hartel,  3  vols.,  viii,  455,  vi,  4S1,  iv,  224 

p.,  Sg.io. 

Vol.  I.  was  published  in  1858,  Vol.  II.  in  i860,  and  the 
first  half  of  Vol.  III.  (all  that  has  appeared)  in  1867.  A 
■work  designed  to  be  a  companion  piece  to  Spitta's 
*' Bach,"  Jahn's  "Mozart,"  and  Thayer's  "  Beetho- 
ven." Its  completion  is  extremely  doubtful.  It  car- 
ries the  story  of  Handel's  life  down  to  1740  and  to  that 
limit  is  exhaustive,  not  to  say  proli.x.  783 

Crowest,  Frederick  J. 

Cherubim.     N.  Y.,  Scribner,  115  p.,  $1. 

Conventional  in  style.  Its  chief  claim  to  interest  is 
its  subject.  783 

Cummings,  WUliam  H. 

PuRCELL.     Lend.,     Sampson     Low.      N.     Y., 

Scribner,  124  p..  Si. 

Trustworthy  and  necessary  for  the  correction  of 
errors  in  the  early  histories.  783 

Deiters,  Hermann. 

Johannes  Brahms.  A  Biographical  Sketch. 
Transl.  with  additions  by  Rosa  Newmarch. 
Edited,  with  a  preface,  by  J.  A.  Fuller- 
Maitland.  Lond.,  T.  Fisher  Unwin.  N. 
Y.,  Scribner,  iSSS,  viii,  160  p.  $1.50.       785 

Edwards,  H.  Sutherland. 

Rossini  and  the  Modern  Italian  School. 

Lond.,  Sampson  Low.    N.  Y.,  Scribner,  114 

p..  |i. 

Bright  and  readable.  Donizetti  and  Verdi  are 
briefly  discussed  in  the  concluding  chapters;  there  is  a 
list  of  Rossini's  published  works  in  an  appendix. 

782.5 
Frost,  H.  F. 

ScHi'BERT.     Lond.,    Sampson    Low.     N.    Y., 

Scribner,  12S  p.,  $1. 

An  adequate  life  of  Schubert  is  yet  to  be  written. 
All  the  biographies  printed  thus  far,  and  they  are  not 
many,  are  short,  and  none  equals  in  literary  manner 
and  interest  the  article  by  the  editor  in  Grove's  Dic- 
tionary. The  present  book  is  as  full  as  the  ordinary 
biography  and  has  an  excellent  feature  in  a  chronologi- 
cal catalogue  of  Schubert's  compositions.  A  German 
biography  by  Niggli  included  in  Breitkopf  &  Hiirtel's 
*'  Musikalische  Vortrage  "  is  to  be  commended  for  its 
contribution  to  our  knowledge  of  the  composer's  habits 
and  private  life.  784 

FuUer-Maitland,  J.  A. 

Masters  of  German  Music.   N.  Y.,  Scribner, 

2S9  p.,  $1.75. 

The  ablest  volume  of  the  "  Masters  of  Contemporary 
Music  "  series.  Separate  chapters  are  given  to  Brahms, 
Bruch,  Goldmark,  Rheinberger.  one  to  Kirchner, 
Reinicke,  and  Bargiel.  one  to  Joachim  and  Clara  Schu- 
mann, one  to  Herzogenberg,  Hofmann,  Bruckner,  and 
Draeseke,  and  one  to  Nicod^,  Richard  Strauss,  Hans 
Sommer,  and  Cyrill  Kistler.  780.943 

Gluck.     See  Newman,  E. 

Gounod,  Charles  Fran9ois. 

Memoirs  of  a.\  Artist.     An  Autobiography. 
Rendered     into     English    bv    Annette    E. 
Crocker.     Chic,    Rand,    McNally   &    Co., 
1895,  223  p.,  $1.25. 
Sec  Hervey,  Arthur.  780.944 


Moz.\rt's  Don  Giov.\nni.  A  Commentary. 
Transl.  from  the  third  French  edition  by 
Windeyer  Clark  and  J.  T.  Hutchinson. 
Lond.,  Robert  Cocks  &  Co.,  iSgs,  144  p., 
3s.  6d.  780.943 

A  commentary  on  Mozart's  master-work,  scene  after 
scene,  not  profound  or  particularly  suggestive  to  mu- 
sicians, but  full  of  affection  and  enthusiasm. 

Gretry,  Andre  Emeste  Modeste. 

Memiiikes  ou  Essais  sur  la  Musique.  ist 
edition,  3  vols.,   I73g.     O.P. 

Versuche  uber  die  Musik.  Im  .^uszuge  und 
mit  kritischen  und  historischen  Zusatzen 
herausgegeben  von  Dr.  Karl  Spazier. 
Leipsic  and  N.  Y.,  Breitkopf  &  Hartel, 
iSoo,  xvi,  446  p.,  paper.  So  c. 

In  these  essays  Gretry  discusses  his  principles  of 
dramatic  composition.  Both  the  original  and  its  trans- 
lation may  be  consulted  at  the  Lenox  Library,  New 
York  (Drexel  Collection).  782 

Handel,  G.  F.     See  Chrysander,  F. ;  Rockstro. 
W.  S. ;  Schoelcher,  V. 

Haydn,  Joseph. 

For  Life  see  Bombet,  L.  A.  C;  Carpani,  G. ; 
Nohl,  L.;  Pohl,  C.  F.;  Townsend,  P.  D. 

Hervey,  Arthur. 

Masters  of  French  Music.    N.  Y.,  Scribner, 

1S94,  xii,  290  p.,  $1.75. 

Sketches  of  Ambroise  Thomas,  Gounod,  Saint-Saens, 
Massenet,  Reyer.  Bruneau,  and  notes  on  Joncitres, 
Dubois,"  Widor.  Godard,  Paladhile,  Salvayre,  Franck, 
d'Indy,  Faur^,  and  Chabrier.  780.944 

Holmes,  Edward. 

The  Life  of  Mozart,  including  his  Cor- 
respondence. New  edition  with  notes  by 
Ebene^er  Prout.  Lond.,  Novello,  Ewer  & 
Co.,  256  p..  %i. 

"  Holmes  has  arranged  the  essential  portions  of  the 
correspondence  with  intelligence  and  discrimination 
and  has  connected  them  by  a  narrative  built  upon 
previous  notices  :  he  has  thus  produced  a  trustworthy, 
and,  as  far  as  was  possible,  an  exhaustive  account  of  Mo- 
zart's life.  .  .  .  The  result  is  a  work  which  must  be 
considered  as  the  most  trustworthy  and  serviceable 
biography  that  could  be  produced  by  a  skilful  employ- 
ment of  the  materials  generally  accessible.  Holmes 
has  not  attempted  to  draw  from  hitherto  unknown 
sources.  He  neither  carries  his  researches  to  any 
depth  nor  offers  any  origrinal  opinions  or  explana- 
tions."— Otto  Jakn  in  ike  pre/ace  to  his  Biography  ^_/* 
Mozart.  780.943 

Jahn,  Otto. 

Life  of  Mozart.  Transl.  from  the  German 
by  Pauline  D.  Townsend,  with  a  preface 
by  George  Grove,  D.C.L.  With  portraits 
and  fac-simile  reproductions  of  autographs. 
N.  Y.,  Novello,  Ewer  &  Co.,  3  vols.,  431, 
478,  443  p.,  $12.60. 

In  its  way  the  last  word  on  Mozart.  The  biograph- 
ical part  is  exhaustive  and  all  the  chiet  works  of 
Mozart  are  interestingly  analyzed.  A  monumental 
work.  780.943 

Handler,  Franz  Sales. 

Uber  das  Leben  und  die  Werke  des  G. 
PiERLUiGl  da  Palestrina,  genannt  der 
Fiirst  der  Musik.  Nach  den  Memorie  sto- 
rico-critiche  des  Abbate  Giuseppe  Baini, 
Siingers  und  Direktors  der  papstlichen 
Kapelle,  verfasst  und  mit  historisch-krit. 
Zusiitzen  begleitet.  Nachgelassenes  Werk, 
herausgegeben  mit  einem  Vorworte  und 
mit   gelegentlichen   Anmerkungen  von   R. 


Musical  Biography. 


65 


G.   Kiesewetter.     Leipsic  and  N.  Y.,  Breit- 
kopf  &  Hartel,  1S34,  xxiv,  244  p.  and  index, 

$2.15. 

A  welcome  translation  and  abridpment  of  the  Ahbt- 
Baini's  famouswork  on  Palestrina.  which  was  published 
in  1828.     Invaluable  in  the  study  of  church  music. 

780.945 
Karasowski,  Moritz. 

Cuonx  ;    His   Life,   Letters,   and   Works; 

with  two  Essays  on  Chopin  as  a  Man  and  a 

Musician,  and  a  Complete  List  of  his  Works. 

Transl.   from  the  German   by   Emily   Hill. 

Lond,,   Reeves.     N.    Y.,    Scribner,    1S79,    2 

vols..  S5. 

•Until  the  appearance  of  the  exhaustive  work  by 
Niecks  (which  see)  the  best  Chopin  biography.  The 
original  was  published  in  Dresden  by  F.  Ries,  1877.  2 
vols.,  $4.80.  780.943 

Ereissle,  Heinrich  von. 

Franz  Schuhert.  Eine  Biografische  Skizze. 
Vienna,  Zamarski  &  Dittmarsch.  1S61. 
O.P. 

Franz  Schtbert.  von  Heinrich  Kreissle 
von  Hellborn.  Vienna,  Gerold,  1S65,  4 
florins. 

A  second,  extended  edition  of  the  original  biographi- 
cal sketch.  This  was  translated  into  English  by  A.  D 
Coleridge  and  published  in  2  vols,  by  Longman  in  1869 
(O.P.),  with  a  valuable  appendi.x  in  which  Sir  (then 
Mr.)  (ixeorge  Grove  .gave  an  account  of  the  mss.  of 
Schubert  which  he  and  Mr.  Sullivan  examined  in  Vi- 
enna in  1867.  Dr.  Kreissle's  biography  has  historical 
value  from  the  fact  that  it  was  the  first  e-xtended  work 
in  the  field.  780.943 

Lampadius,  W.  A. 

Life   of    Felix    Mendelssohn-Bartholdy. 

Transl.  by  W.   A.   Gage.     Bost.,  Ditson  & 

Co.,  $1.25. 

A  standard  work,  written  in  a  spirit  of  affectionate 
sympathy.  780.943 

Iiiszt,  Franz. 

Life  of  Chopin.  Transl.  from  the  French 
by  Martha  Walker  Cook.  Host.,  Ditson,  202 
p..  Si. 25. 

It  IS  a  misnomer  to  call  Liszt's  poetical,  almost  hys- 
terical essay  a  "Life"  of  Chopin.  Its  biographical 
material  is  meagre  and  faulty,  but  the  book  is  valua- 
ble as  a  study  of  Chopin's  art  by  a  fellow-artist  and 
friend 

For  Correspondence  of  Wagner  and  Liszt  see 
Wagner  in  Part  VI. 

For  "  Life  of  Liszt  "  see  under  Nohl,  L.  For  *'AIs 
Kuenstler  und  Mensch''  see  under  Ramann,  L. 

780.943 

Marx,  A.  B. 

LuDwiG  VAN  Beethoven,  Lehen  und  Scii.\f- 
fen.  In  zwei  Theilen  mit  chronologischem 
Verzeichniss  der  Werke  und  autograph- 
ischen  Beilagen.  Dritte  Auflage.  mit  Be- 
riicksichtigung  der  neuesten  Forschungen 
durch  gesehen  und  vermehrt  von  Dr.  Gustav 
Behncke.  Berlin,  Otto  Janke.  N.  Y.. 
Lemcke  &  Buechner.  2  vols.,  365,  456  p., 
paper,  $5.35;  cloth,  S6.10. 

A  critical  biography  written  with  ardent  sympathy 
and  in  a  sanely  poetical  style,  with  analysis  of  the 
larger  compositions  of  Beethoven  which  give  it  a  place 
not  filled  by  any  English  biography.  780 

Gluck  und  die  Oper.     Mit  dem  wohlgetrof- 
fenen  Portrait  Gluck's.  einem  Autographen 
und    vielen   Musik-Beilagen.     Berlin.  Otto 
Janke,  1S63,  2  vols.,  464,  390  p.,  I4.20. 
Valuable,  but  proli.x.  780.943 

Mendelssohn-Beirtholdy,  F.     See  Lampadius, 
W.  A. 


Mozart.     See  Holmes,  E. ;  Jahn,  O. ;  Nohl,  L.; 
Pole,  W. 

Newman,  Ernst. 

Gi.ilk  .\nd  the  Opera.     A  Study  in  Musical 

History.     Lond.,   Bertram   Dobell.     N.  V., 

Scribner,  1895,  300  p.,  $2.40. 

Obviously  intended  to  take  the  place  of  the  German 
\iorSL,(Jluci  unit  lite  0/ier.    (Sec  Marx.)  782.3 

Niecks,  Frederick. 

Frederick.  Chopin  as  x  Man  and   Musician. 

N.  Y.,   Novello,   Ewer  &   Co.,  2  vols.,  340, 

375  P-.  Sio. 

A  standard  work,  the  ablest  yet  written  on  the  sub- 
ject, though  unduly  extended  by  dissertations  on  unes- 
sential topics.  Contains  appreciative  and  intelligent 
analyses  and  criticisms  and  a  well-compiled  and  anno- 
tated list  of  Chopin's  published  compositions. 

780.943 

Nohl,  Louis. 

Lives  OF  Beethoven,  Haydn,  Liszt,  Mozart, 
.\ND  Wagner.  Transl.  by  George  P.  Up- 
ton and  John  J.  Lalor,  With  portraits. 
Chic,  A.  C.  McClurg  &  Co.,  5  vols.,  7=;  c. 
each.  780.943 

Nottebohm,  Gustav. 

Beethoveniana.  Aufsatze  und  Mittheilun- 
gen.  Leipsic,  Rieter-Biedermann,  1S72, 
203  p.,  7  marks. 

Zweite  Beethoveni.\na.  Nachgelassene 
Aufsatze.  Leipsic,  Rieter  -  Biedermann, 
1SS7,  X.  590  p..  20  marks. 

Reprints  of  Beethoven's  sketch-books,  invaluable  to 
Beethoven  students.  The  second  volume  left  unfinished 
by  Nottebohm  was  completed  by  E.  Mandyczewski. 

780.943 

Oulibischefif,  Alexander. 

Beethoven,  ses  Critiques  et  ses  Glossa- 
teurs.     Paris,  1S57.     O.P. 

Beethoven,  seine  Kritiker  und  seine  Aus- 
LEGER.     Aus  dem  Franzosischen  iiberzetzt 
von  Ludwig  Bischoff.     Leipsic.  Brockhaus, 
1S59.  X.  373  P-     O.P. 
A  polemic  directed  against  Lenz's  '*  Beethoven  et  ses- 

trots  styles."    (See  Lenz  in  Pan  VIII.) 

NOUVELLE  BlOGRAPIIIE  DE  MoZAR  p,  suivie  d'un 
aperju  sur  I'histoire  g^nferale  de  la  Mu- 
sique.  Leipsic,  Brockhaus,  1S44,  3  vols. 
O.P. 

Mozart's  Lehen  und  Werke  von  .Alexander 

Oui.iBisciiEFF.     Neu    Bearbeitet    und   wes- 

entlich  erweitert  von  Ludwig  Ganttner.     2d 

ed.     Stuttgart,  Ad.    Becher.   1S64,  4  vols.: 

xix,  331,  32S,  392,  34S  p.     O.P. 

The  historical  "  apertu  "  in  the  original  attacked  the 

later  compositions  o(   Beethoven  and  provoked  Lenz 

(see  Part  VIII.)  to  write  his  "Beethoven  et  ses  trots 

styles.-  780.943 

Paine,  John  Knowles,  Editor. 

Famous    Composers     and     Their     Works. 

Bost.,  J.   B.  .Millet  Co.,  30  parts,  $15.     (In 

6  vols..  $24.) 

This  work  was  sold  on  subscription.  It  is  serious 
critical  biography  by  well-known  writers,  with  studies 
of  the  growth  of  music  in  various  countries.  The  mu- 
sical illustrations  were  edited  by  Theodore  Thomas 
and  Karl  Klauser  780.0 

Palestrina.     See  Kandler,  F.  S. 


66 


Musical  Biography. 


Pohl,  C.  P. 

Joseph  Haydn.  Leipsic,  Breitkopf  <.^  Hartel, 
2  vols.,  XX,  423,  vii,  3S3  p.,  ?6.3o. 
The  author  was  librarian  of  the  Gssellschaft  dcr 
Musikfreunde  in  Vienna.  A  residence  of  three  years 
in  London  was  largely  occupied  m  investigations 
touching?  the  visits  to  that  city  of  Mozart  and  Haydn, 
the  results  he  embodied  in  his  book  "  Mozart  and 
Haydn  in  London  "  (1867)  He  then  undertook  to  do 
for  Haydn  what  Jahn  (see)  had  done  for  Mozart  and 
Spitta  (see)  for  Bach.  Unhappily  his  Haydn  biogra- 
phy was  unfinished  at  his  death  in  1887,  alter  it  liad 
carried  the  history  ol  the  composer  to  the  end  of  1790; 
but  so  far  as  it  goes  it  is  a  court  of  last  resort  on  all 
questions  of  fact  concerning  the  composer.     780.943 

Pole,  William. 

The  Story  of  Mozart's  Requiem.  With  a 
fiK-siniile.  Lond.,  Novello,  Ewer  &  Co., 
1879,  91  p..  40  c. 

A  fine  marshalling  of  the  facts  in  the  much  con- 
troverted story  of  the  y^t-yj/zVw,  leaving  the  question 
of  the  e.xact  extent  of  Mozart's  work  unsettled. 

780.943 

Poole,  Reginald  Lane. 

Seb.\sti.\n  Bach.     Lond..  Sampson  Low.    N. 

Y.,  Scribner,  13S  p.,  $1. 

An  excellent  compendium-  a  vast  amount  of  infor- 
mation well  brought  out  and  well  stated.  It  is  one  of 
th^  best  volumes  in  "  The  Great  Musicians"  series,  and 
challenges  attention  as  the  first  biography  of  Bach 
written  in  England.  780.943 

Pougin ,  Arthur. 

Vekdi  :  An  Anecdotic  History  of  His  Life 

AND  Works.     TransL   from  the  French  by 

James  E.  Matthew.     N.  Y..  Scribner.  1SS7, 

xi,  30S  p.,  %i.  780.945 

Purcell.     See  Cummings,  AV.  H. 

Ramann,  L. 

Franz  Liszt.  Als  Kuenstler  und  Als 
Mensch.  Leipsic  and  N.Y.,  Breitlcopf  & 
Hartel.  1880.  1SS7,  and  1894.  2  vols,  bound 
in  3,  xii.  570.  viii,  315,  xii,  531  p..  $8. 20. 

An  exhaustive  work  authorized  by  Liszt,  largely 
written  under  his  supervision,  but  somewhat  hysterical 
in  us  admiration  and  devotion.  780.943 

Heissmann,  August. 

Life    and   Works    of    Robert    Schumann. 
Transl.  from  3d  edition  of  the  German  by 
Abbv  Langdon  Alger.     Load.,  George  Bell 
c<c  Co.     N.  Y.,  Macmillan,  276  p.,  ?i. 
A  critical  biography,  with  intelligent  discussions  of 

Schumann's  principal  compositions.  780.943 

Rookstro,  W.  S. 

Life  ok  George  Frederick  Handel.     With 
introductory    notice      by     George     Grove. 
D.C.L.     N.  Y..  Macmillan,  452  p.  $2.50. 
Trustworthy  and  serviceable.     Contains  a  valuable 

catalogue  of  Handel's  works  and  a  genealogical  tree. 

780.943 

Rossini.     See  Edwards,  H.  S. 

Rubinstein,  Anton. 

AuTOBioGRArHV,  1829-1889.  Transl.  from 
the  Russian  by  Aline  Delano.  Bost.,  Little, 
Brown  &  Co.,  1S90,  viii,  171  p.,  $1. 

A  Conversation  on  Music.     Transl.  for  the 
author  by  Mrs.  John  P.  Morgan.     N.  Y.,  C 
F.  Tretbar,  146  p.,  Si. 
The  latter  volume  contains  a  frank  confession  of 

Rubinstein  s  attitude  toward  his  contemporaries. 

780.047 


Schindler,  Anton. 

The  Life  of  Beethoven  ;  including  the  bi- 
ography of  Schindler,  Beethoven's  corre- 
spondence with  his  Friends,  numerous 
characteristic  traits,  and  remarks  on  his 
musical  works,  edited  hy  Ignace  Moscheles: 
to  which  is  added  the  Life  and  Character- 
istics of  Beethoven,  from  the  German  of 
Dr.  Heinrich  Doring.  Bost.,  Ditson,  390 
p.,  $1.50. 

A  reprint  of  the  Moscheles  book  of  1841,  with  the  ad- 
dition of  the  preface  to  the  Wolfenblittel  edition  of 
Beethoven's  sonatas  as  translated  for  Divigltt^s  Joiiy- 
ttal  0/ Music^  that  preface  consisting  of  Dr.  Doring's 
sketch,  TheonginalofSchindler's  "Biographic"  was 
published  m  Miinster  in  1840,  but  Moscheles  took  more 
credit  for  it  than  the  author  when  he  translated  or 
adapted  it  for  the  London  publisher  in  1841.  The  inti- 
mate relations  which  existed  between  Schindler  and 
Beethoven  during  the  last  few  years  of  the  latter's  life 
give  great  worth  to  the  book  as  an  original  source  of  in- 
formation Its  value  as  an  authority,  though  fre- 
quently attacked,  has  been  confirmed  by  Mr.  Thayer. 
(See  Thayer,  A.  W.)  780.493 

Schoelcher,  Victor. 
The  Life  of  Handel.     Bost..  Ditson,  492  p., 

§2. 

The  French  original  of  this  work  has  never  been 
printed.  Schoelcher  was  not  a  musician  but  a  politi- 
cian, who,  as  a  republican,  was  expelled  from  France 
on  the  accession  of  Napoleon  III  He  lived  in  London 
till  1870,  and  his  book  was  the  fruit  of  an  enthusiasm 
for  Handel  created  and  nourished  there.  Though  ex- 
tremely laulty.  It  long  enjoyed  great  popularity  because 
there  was  no  modern  English  biography  of  Handel,  It 
hasnow  been  supplanted  by  Rockstro's  "Life."  (See 
Rockstro.)  780.943 

Schubert.     See  Frost,  H.  F. ;  Kreissle,  H.  v. 

Schuinann,R.    ^ivReissmann.  A. ,  Wasielewski, 
J.   V, 

Spitta,  Philipp. 

Johann  Sebastian  Bach  :  His  Work  and  In- 
fluence on  the  Music  of  Germany,  16S5- 
1750.  Transl.  from  the  German  by  Clara 
Bell  and  J.  A.  Fuller-Maitland.  N.  Y., 
Novello,  Ewer  &  Co.,  3  vols.,  6s6,  721.  and 
419  p.,  $12.  O.P. 
A  monumental  example  of  German  thoroughness  and 

devotion.  780.943 

Spohr,  Iiouis. 

Autobiography.     Transl.  from  the  German. 

Lond.,     Longman      1S65     vii,  327.   242   p., 

$3.50.     O.P. 

Containing  many  interesting  comments  on  Spohrs 
contemporaries,  especially  Beethoven  780  943 

Streatfeild,  R.  A. 

Mastersof  Italian  Music.     N.\^,  Scribner, 

1S95.  270  p..  $1.75- 

Sketches  of  Verdi,  Bolto.  Mascagni.  Puccini,  Leon- 
cavallo, and  a  final  chapter  devoted  to  Bazzini,  Sgam 
bati,  Faccio.  and  Mancinelli.  780,945 

Thayer,  Alexander  Wheelock. 

LuDNviG  VAN  Beethoven's  Leben.  Nach 
dem  Original  Manuscript,  deutsch  bear- 
beitet.  Berlin,  W.  Weber.  N.  Y.,  Lemcke 
&  Buechner,  3  vols.,  3S4.  416,  519  p., 
paper.  S7. 

The  court  of  last  resort  for  all  questions  touching 
the  man  Beethoven:  there  is  no  discussion,  beyond 
the  historical,  of  his  compositions.  Written  in  Eng- 
lish by  an  American,  and  translated  by  Dr.  H  Deiters, 
"The  three  volumes  published  respective^y  in  1866, 
1872,  and  1879  bring  the  hie  of  Beethoven  down  to  the 
endofi8i6.  A  fourth  volume  is  yet  tocome.  The  work 
represents  thirty-five  years  of  labor  and  its  authority 
IS  indefectible.  780.943 


JVasrneriana. 


67 


Chronoi.ogisches  Verzeichniss  der  Werkk 
LiDxviG   VAN    Beetiiovens.     Berlin,   1865, 
Ferdinand  Schneider,  viii,  20S  p.     O.P. 
**  A  catalogue  from  a  difEerent  point  of  view  "  (from 
that   published    by   Breitkopf    &    Hartel — see   Beetho- 
ven) "in  the  order  of   the  production  of  the  works, 
and  embracing  those  unpublished  as  well  as  published, 
was  issued  by  Mr.  Thayer  as  a  precursor,  or  mettiotre 
/lour  s€7-7'tr,  to  his  '  Biography,'  viz.,  Chronotogischcs 
I'erzeu/tniss,  etc.  (Berlin,  1865).    It  is  difficult  to  over- 
estimate the  value  of  thisunpretending  list,  which  con- 
tains a  vast  amount  of  information  not  only  before 
inaccessible,  but  unknown  to  students." — Sir  George 
Grove.  780.943 

Townsend,  Pauline  D. 

Joseph  Haydn.    Lond.,  Sampson  Low.  N.  Y.. 
Scribner,  124  p.,  $1. 

A  volume  of  "The  Great  Musicians"  series,  edited 
by  Dr.  Francis  Hueffer.  An  unadorned  narrative  of 
facts  without  attempts  at  analysis  or  criticism.  The 
author  is  the  translator  of  Jahn's  "Mozart." 

780.943 

Verdi.     See  Pougin,  A.;  Streatfeild,  R.  A. 

Wagner,  Richard. 

Part  VI.,  following  this,  is  devoted  to  Wagner. 


Wasielewski,  Joseph  von. 

Like  of  Robert  Schi-masn.     Transl.  by  A. 
L.  Alger.     Host.,  Ditson,  275  p.,  $1.25. 
The  original,  published  by  Rudolf  Kunze,  Dresden, 
in  1858,  is  a  standard  work.  780.943 

Weber,  Baron  Max  Maria  von. 

Cari.  M.\ria  vi.iN  Weiiek;  the  Life  of  an  Ar- 
tist. From  the  German  of  his  son  by  J. 
Palgrave  Simpson.  Bosl.,  Ditson,  2  vols., 
302,  35S  p.,  $2.50. 

The  German  original  was  published  in  three  vol- 
umes, 1866-1868.  It  is  an  acknowledged  authority. 
The  above  is  an  American  reprint  of  the  English  edi- 
tion, in  which  the  German  original  is  materially  con- 
densed. 

See  under  Benedict,  Sir  Julius.  780.943 

Willeby,  Charles. 

Masters  ok  English  Music.     N.  Y.,  Scrib- 
ner, 3S0  p.,  Si. 75. 
Sketches,  not  notable  for  literary  or  critical  strength, 

of  Sullivan,  Mackenzie,  Cowen,  Parry,  and  Stanford. 

780.942 


PART    VI. 


WAGNERIANA. 


Senoit,  Camille. 

The  typical  motives  of  "The  Master- 
singers  OK  Nuremberg,"  a  musical  comedy 
by  Richard  Wagner.  English  version  by 
J.  H.  Cornell.  A  study  for  serving  as  a 
guide  through  the  score,  preceded  by  a  re- 
view of  the  poetical  work.  N.  Y.,  Schir- 
mer.  48  p.,  50c.  782.2 

Dippold,  George  Theodore. 

Richard  Wagner's  Poem:  ''The  Ring  of  the 
Nibelung."  Explained  and  in  part  transl. 
N.  Y.,  Holt,  iSSS,  240  p.,  $1.50.  782.2 

Finck,  Henry  T. 

Wagner  and  His  Works-  -ihe  Story  ok  His 
Like,  with  Critical  Comments.  With 
portraits.  N.  Y..  Scribner.  2  vols.,  460, 
530  p..  $4. 

The  oiographical  portion  remarkably  complete, 
clearly  and  lorcibly  written,  with  agreeable  variety 
and  picturesqueness.  Facts  careluUy  sifted  and  well 
ordered.  The  polemical  and  critical  portions  marred 
by  uncompromising  radicalism  of  statement  and  fre- 
quent instances  of  imperfect  literary  taste.  782.2 

Trost,  William  Henry. 

The  Wagner  Siorv  Book;  Firelight  Tales  of 
the  Great  Music  Dramas.  Illustrated  by 
Sydney  Richmond  Burleigh.  N.  Y.  Scrib- 
ner. 1S94.  245  p.,  $1.50. 

Mr.  Frost  has  permitted  the  dramasof  Wagner  from 
Tannkaiiser  to  Parsifal  to  furnish  him  with  material 
for  a  series  of  tales  which  he  has  cast  in  the  form  of 
narratives  to  a  child;  but  he  has  done  with  his  material 
what  every  creative  artist  does  with  the  crude  stuff 
which  he  finds  at  hand  in  nature  He  lia^  melted  it 
over,  moulded  it  anew,  enriched  it  with  original  de- 
signs drawn  from  his  own  stores,  and  made  it  subserve 
«iew  purposes.  His  book  is  most  ingratiating  and  quite 
in  the  spirit  of  Charles  Kingsley.  782.2 

Glasenapp,  Carl  Friedrich. 

RiciLARD  Wagner's  Leben  und  Wirken.     In 


sechs  BUchern  dargestellt.  Eine  Festgabe 
zum  Bayreuther  Biihnenweihfestspiele 
"  Parsifal."  Neue  vermehrte  Ausgabe  mit 
einem  Namen-  und  Sachregister.  Leipsic 
and  N.  Y..  Breitkopf  &  ilartel,  1SS2,  2 
vols.,  xii.  403,  552  p.,  $6. 

The  authoritative  biography  of  Wagner.  A  supple- 
ment was  printed  to  the  first  edition  carrying  the  nar- 
rative to  the  year  1882,  A  complete  revision  under- 
taken by  the  author  has  appeared  under  the  title ; 

Das  Leken  Richard  Wagner's  ;  in  sechs 
BUchern  dargestellt.  Dritte  ganzlich  neu 
bearbeitete  Ausgabe  von  "Richard  Wag- 
ner's Leben  und  Wirken."  Leipsic  and  N. 
Y.,  Breitkopf  &  Hartel.  3  vols.,  $io.So. 

782.2 
Heintz,  Albert. 

The  Master- Singers  of  Nuremberg,  by 
Richard  Wagner.  Attempt  at  a  musical 
explanation.  Trans!.,  from  the  2d  German 
edition  by  J.  H.  Cornell.  N.  Y.,  Schirnitr, 
128  p.,  $1.  782.2 

Hueffer,  Francis. 

Richard   Wagnel      Lond.,   Sampson   Low. 

N.  Y..  Scribner    127  p..  §1. 

In  the  "  Great  Musicians  "  series,  edited  by  the  au- 
thor, a  recognized  English  authority.  Contains  a  list 
of  Wagner's  published  works.  782.2 

JuUien,  Adolphe. 

Richard  Wagner,  His  Life  and  Works. 
Transl.  from  the  French  by  Florence  Per- 
cival  Hall.  Introduction  by  B.  J.  Lang. 
Illustrated  with  14  phototypes  from  origi- 
nal drawings  bv  Fantin-Latour,  15  por- 
traits of  Richard  Wagner,  and  113  text 
cuts;  scenes  from  his  operas;  views  of 
ttieatres,  autographs,  and  numerous  cari- 
catures.    Bost.,  J.   B.    Millet  Co..  2  vols.. 

A  critical  biography  written  in  a  sprightly  and  en- 


68 


IVagneriana. 


lertamingr  vein  by  a  distin^ished  French  writer,  an 
enthusiastic  admirer  of  Wagner's  music  and  a  calm  and 
discriminating  judge  of  his  personal  character.  There 
are  evidences  in  tlie  translation  of  unfamiliarity  with 
French  musical  terminology  and  Wagner's  works. 

782.2 

Krehbiel,  H.  E. 

Sti'dies  in  the  Wagnerian  Drama.     N.  Y., 
Harper,  197  p.,  $1.25. 
Contents:    Chap.   I.,  The  Wagnerian   Drama:   its 

frototypes  and  elements;  Chap.  II.,  "Tristan  und 
solde";  Chap.  III.,  "Die  Meistersinger  von  NUrn- 
berg":  Chap.  IV.,  "  Der  Ringdes  Nibelungen  ";  Chap, 
v.,  "Parsifal."  782.2 

Kufferath,  Maurice. 

The  Parsifal  of  Richard  Wagner.  IUus. 
N.  Y.,  Am.  Publishers  Corporation,  300  p., 
fi.25. 

A  fine  study  by  one  of  the  most  scholarly  of  French 
critics.  782.2 

Schure,  Edouard. 

Le  Drame  Musical.  Nouvelle  Edition  aug- 
mentee  d'une  Etude  sur  "  Parsifal."  Tome 
I.,  La  Musique  et  la  Poesie  dans  leur  De- 
veloppement  Historique.  Tome  II.,  Rich- 
ard Wagner,  son  CEuvre  et  son  Idee. 
Paris,  Librairie  Academique  Didier.  Emile 
Perrin,  Librairie-Editeur,  1SS6,  x.\ii,  294, 
367  p.,  7  fr. 

Das  Musikalische  Drama.     Transl.  by  Hans 
von  Wolzogen.     3d  ed.     Leipsic,  Reinboth, 
2  vols  in  I,  212,  172  p. 
The  same  work  in  German.  782.2 

Wagenseil,  Johann  Christoph. 

De  Sacri  Rom.  Imperii  Libera  Civitate 
Noribergensi  Commentatio.  Accedit,  De 
Germanic  Phonascorum  I'ojt  Der  A/eister- 
Siitgfr,  Origine,  Praestantia,  Utilitate,  et  In- 
stitutis,  sermone  vernaculo  Liber.  Altdorf, 
1697.     O.P. 

It  is  to  the  German  chapter  in  this  Latin  treatise  on 
the  city  of  Nuremberg  that  Wagner  is  indebted  for  all 
the  elements  that  are  historical  in  his  comedy  I?u' 
Metstersi?t^er  TOti  Nurnberg.  Considering  its  age 
and  value  the  book  is  quite  common  in  the  German  sec- 
ond-hand catalogues.  There  is  a  copy  at  the  Leno.x 
Library  (Dre,\el  Collection),  New  York.  780.943 

Wagner,  Richard. 

Richard  Wagner's  Prose  Works.     Transl. 

by    William  Ashton    Ellis.     Lond.,   Kegan 

Paul.      N.  Y.,  Scribner. 
Vol.  I.,  1892,  "  The  Art  Workof  the  Future," 

etc.,  .xviii,  422  p.,  ?6. 
Vol.  II.,  1S93,  "Opera  and  Drama,"   .x.\,  416 

p.,  $6. 
Vol.  III.,  1S94,   "The  Theatre,"  .xii,   432  p., 

$6. 


Vol.    IV.,    1S95,   "Art  and   Politics,"   x.x,   415 

p.,  ?6. 

These  four  volumes  belong  to  the  six  in  which  Mr. 
Ellis,  with  the  help  of  the  London  Branch  of  the  Wag- 
ner Society,  intends  to  embody  an  English  renderingof 
Wagner's  .omplete  prose  works.  He  has  provided  each 
volume  with  a  preface,  a  summary  of  its  contents,  and. 
a  voluminous  inde.x  which  greatly  facilitate  study. 

Richard  Wagner's  Letters,  to  His  Dresden 
Friends,  Theodore  Uhlig,  Wilhelm  Fischer, 
and  Ferdinand  Heine.  Transl.  into  Eng- 
lish, with  a  Preface  by  J.  S.  Shedlock,  and 
an  Etching  of  Wagner  by  C.  W.  Sherborn. 
N.  Y.,  Scribner,  iSgo,  xi,  512  p.,  $3.50. 

Correspondence    of    Wagner    and    Liszt. 

Transl.    into   English,    with    a   Preface   by 

Francis  Hueffer.     Lend.,  H.  Grevel  &  Co. 

N.   Y.,  Scribner,     iSSg,    2    vols.,  xvi,    352, 

340  p.,  «5-     O.P. 

A  new  edition  in  one  volume  is  said  (Jan.,  1897)  to  be 
in  preparation. 

All  these  letters  are  of  inestimable  value  to  Wagner 
students,  but  reference  to  the  correspondence  with  Liszt 
is  made  extremely  difficult  for  lack  of  an  index.  782.2 

Art  Life,  and  Theories  of  Richard  Wag- 
ner. Selected  from  His  Writings,  and 
Translated  by  Edward  L.  Burlingame. 
With  a  Preface,  a  Catalogue  of  Wagner's 
Pubiished  Works,  and  Drawings  of  the  Bay- 
reuth  Opera  House.  N.  Y.,  Holt,  305  p., 
$2. 
A  brief  Life  of  Wagner  is  mentioned  under  Nohl,. 

Part  V.  782.2 

Weston,  Jessie  L. 

The  Legends  ofthe  Wagner  Drama.  Studies 
in  Mythology  and  Romance.  N.  Y.,  Scrib- 
ner, 1S96,  3S0  p.,  I2.25.  782.2 

Wolzogen,  Hans  von. 

Guide  Through  the  Music  of  Richard  Wag- 
ner's "The  Ring  of  the  Nibelung."  New 
edition  translated  by  Nathan  Haskell  Dole. 
N.  Y.,  Schirmer,  75  c. 

Guide  Through  the  Musical  Motives  of 
Richard  Wagner's  "Tristan  und  Isolde." 
With  a  Preface  on  the  Legend  and  the  Poem 
of  Wagner's  Drama.     N.  Y.,  Schirmer,  50c. 

Guide  Through  the  Music  of  Richard  Wag- 
ner's "  Parsifal."  New  edition  translated 
by  J.  H.  Cornell.     N.  Y.,  Schirmer,  75  c. 

These  are  translations  of  the  authoritative  guides  to 
the  significance  of  the  typical  phrases  out  of  which 
Wagner  constructed  his  latter-day  dramas.  Readers 
who  want  expositions  of  the  dramas  in  addition  to  an 
enumeration  of  the  phrases  are  referred  to  Gustav 
Kobb^'s  Richard  Wagner's  '*Ring  of  the  Nibelung" 
($1)  and  "Tristan  and  Isolde,"  N.  Y.,  Schirmer  (25c.). 

782.2 


Music :  Science  and  ^-Esthetics. 


69 


PART    VII. 
SCIENCE   AND    .ESTHETICS. 


Ambros,  A.  W. 

The  Boundaries  of  Music  and  Poetry  :  a 
Study  in  Musical  .Esthetics.  Transl. 
from  the'German  by  J.  H.  Cornell.  N.  Y., 
Schirmer,  187  p.,  $2. 

Eniertainine  as  well  as  suggestive.  An  answer  to 
Hanslick's  "The  Beautiful  in  Music,"  which  see. 
Free  from  the  ordinary  obscurities  of  metaphysical 
writing,  and  full  of  illustrations  drawn  from  the  other 
arts.  It  combats  the  notion  that  feelings  are  neither 
the  aim  nor  the  content  of  music,  but  points  out  the 
limitations  of  musical  expression  and  warns  against  the 
extravagance  of  descriptive,  or  programme,  music. 

780.1 
Berlioz.  Hector. 

A  Treatise  on  Modern  Instrumentation 
AND  Orchestration;  to  which  is  appended 
The  Chef  d'Orchestre.  Transl.  by  Mary 
Cowden  Clarke.  New  edition,  revised  and 
edited  by  Joseph  Bennett.  N.  Y.,  Novello, 
Ewer  &  Co.,  1882,  257  p.,  $4.80. 

Has  always  been  the  chief  authority  in  its  depart- 
ment. The  book  contains  an  exact  table  of  the  com- 
pass, asketch  of  the  mechanism  and  studyof  the  quality 
of  tone  and  expressive  character  of  the  instruments  of 
the  orchestra  and  a  large  number  of  examples  in  score. 

785 
Broadhouse,  John. 

Musical  Acoustics  :  The  Students'  Helm- 
HOLTZ,    or   The    Phenomena   of   Sound   as 
connected  with  music.     Lond.,  Reeves.     N. 
Y.,  Scribner,  440  p.,  $3. 
S.v  Helmholtz.  781.1 

Broekhoven,  John  A. 

A  System  ok  Harmony  for  Teacher  and 
Pui'iL,  with  copious  examples,  practical 
Exercises,  Questions,  and  Indexes.  Cin- 
cinnati, Chicago,  and  N.  Y.,  John  Church 
Co.,  118  p.,  $1. 

The  author  is  Professor  of  Harmony  and  Composi- 
tion in  the  College  of  Music  of  Cincinnati.  He  aims  at 
a  simplification  of  the  method  pursued  in  Richter's 
Manual  (see  Richter)  so  as  to  bring  the  science  of  har- 
mony within  the  ken  of  students  01  the  pianoforte  and 
singing.  781.3 

Bussler,  Ludwig. 

MusiKALiscHE  Formenlehre.  See  Cornell, 
second  following  title.  781.5 

Corder,  F. 

The  Orchestra  and  How  to  Write  for  It. 
A  practical  guide  to  every  branch  and  de- 
tail of  modern  orchestration;  including  full 
particulars  of  all  instruments  now  in  use 
and  rules  for  their  combination.  With  nu- 
merous exercises  and  over  200  useful  ex- 
amples from  modern  works.  The  whole 
forming  an  indispensable  manual  for  con- 
ductors and  composers.  Lond.,  Robert 
Cocks.  N.  Y..  Edward  Schuberth  &  Co., 
1S96,  III  p.,  $4. 

A  new  work  that  came  to  supply  a  decided  want. 
Features  of  excellent  practical  utility  are  the  rules  for 
writing  for  small  bands,  such  as  are  used  at  dances, 
in  the  theatres,  and  at  watering-places,  and  for  brass 
bands.  In  the  illustrative  examples  the  parts  for  trans- 
posing instruments  are  written  as  they  sound  to  simplify 
study.  A  large  number  of  the  examples  are  taken  from 
compositions  by  Wagner  and  the  musicians  of  to-day, 
and  these  are  a  valuable  addition  to  Berlioz's  work  on 
the  same  subject.  (See  Berlioz,  "  A  Treatise  on  Modern 
Instrumentation^"  in  this  list.) 


CorneU,  J.  H. 

The    Theory    and    Practice   of    Musical 
Form  ;  on    the    basis  of   Ludwig   Bussler's 
"  Musikalische  Formenlehre.  "    Korinstruc- 
tion    n   Compositicm  both  in  private  and  in 
classes.     N.  Y.,  Schirmer,  2O0  p.,  $2. 
"  The  aim  of  the  work  is,  in  one  word,  to  teach  musi- 
cal construction,  and  its  plan  is  perfectly  simple.    Each 
form,  beginning  with  the  very  smallest  of  the  elemen- 
tary ones,  is  clearly  explained  and  copiously  exempli- 
fieu  ;  the  student  is  then  required  to  originate  a  musical 
thought  in  the  given  form.  — [From  the  Preface] 

781.5 
Gevaert,  F.  A. 

Nouveau  Traited'Instrumentation.  Lei-'- 
sic  and  N.  Y.,  Breitkopf  &  Hartel,  1SS5, 
iv,  339  P-.  SS. 

Neue  Instrumenten  Lehre.     Ins  Deutsche 
iibersetzt  von  Dr.  Hugo  Riemann.     Leipsic 
and   N.   Y.,   Breitkopf  &   Hartel,   1S87,  iv, 
345P-,fS. 
Modern  and  admirable.  *   785 

Gow,  George  O. 

The  Structure  of  Music.  An  elementary 
text-book  on  Notation  and  Harmony  with 
full  illustrations  and  abundant  exercises. 
For  use  in  the  class-room  and  for  self- 
instruction.     N.  Y.,  Schirmer,  200  p.,  $1.25. 

781.3 
Hanslick,  Eduard. 

The  Beautiful  in  Music  ;  A  Contribution  to 

the  Revisal  of  .Musical  .Esthetics.     Transl. 

from    the    7th    edition    by    Gustav    Cohen. 

N.  Y.,  Novello,  Ewer  &  Co.,  174  p.,  $2.40. 

One  of  the  most  gracefully  written  as  well  as  keen- 
est discussions  of  the  nature  and  essence  of  music  ex- 
tant. Dr.  Hanslick  contends  that  music  possesses  no 
means  for  representing  definite  feelings.  The  beauti- 
ful in  music,  therefore,  does  not  depend  on  emotional 
expression.  The  content  of  music  is  the  musical  idea, 
which  is  not  only  an  object  of  intrinsic  beauty  but  also 
an  end  in  itself,  not  a  means  for  representing  feelings 
or  thoughts.  In  reply  see  Ambros's  "The  Boundaries 
of  Music  and  Poetry  '*  in  this  list.  780. 1 

Haupt,  August. 

Theory  of  Counterpoint,  Fugue,  and 
DouHLE  Counterpoint.  Prepared  ex- 
pressly for  the  Royal  Institute  for  Church 
Music  at  Berlin.  Transl.  from  the  original 
manuscript  by  H.  Clarence  Eddy.  N.  Y., 
Schirmer.  79  p.,  fi.50. 

An  extremely  sententious  set  of  rules  which  seem 
to  have  been  written  more  for  the  guidance  of  a  teacher 
than  for  study  by  a  pupil.  781.4 

Hauptmann,  Moritz. 
The    Nature    of    Harmony    and    Metre. 

Transl.    and    edited    by  W.   E.    Heathcote. 

N.  Y.,  Novello,    Ewer  &  Co.,   iSSS,  352  p., 

$3. 

A  philosophical  explanation  of  the  receive;!  laws  of 
music  derived  from  one  all-pervading  or  fundamental 
law  whose  gradual  embodiment  is  manifest  in  the  his- 
torical evolution  of  the  art.  781.3 

Helmholtz,  H.  L.  F. 

On  the  Sensations  of  Tone,  as  a  Physio- 
logical Basis  for  the  Theory  of  Music. 
New  English  edition,  translated,  thorough- 


Musical  Criticism  and  Analxsis 


ly  revised  and  corrected.  With  numerous 
additional  notes  and  a  new  additional  Ap- 
pendix, specially  adapted  to  the  use  of 
musical  students,  by  A.  J.  Ellis.  With  68 
figures  engraved  on  wood  and  42  passages 
in  musical  notes.  N.  Y.,  Longmans,  $9.50. 
See  Bruadhouse.  781. i 

Jadassohn,  S. 

A  Mamai.  of  Harmony.  Transl.  from  the 
third  augmented  and  carefully  revised  Ger- 
man edition  by  Dr.  Th.  Baker.  N.  Y  , 
Schirmer,  292  p..  §2. 

The  author  is  the  most  distinj^ished  pedagogue  in 
the  Faculty  of  the  Conservatory  of  Leipsic,  a  clear, 
strong,  logical,  and  scientific  thinker  and  leasoner 

781.3 
Rrehbiel,  H.  E. 

How  TO  Listen-  to  Music.  N.  Y..  Scribner 
1896,  Nv.  361  p.,  I1.25. 

Contents  t  I  ntroduction,  setting  forth  that  the  book 
is  not  for  professional  musicians,  but  for  untaught  lov 
ers  of  music;  Recognition  of  Musical  Elements  Con 
tent  and  Kinds  of  Music  The  Modern  Orchestra  At 
an  Orchestral  Concert ;  At  a  Pianoforte  Recital ,  At  the 
Opera  ,  Choirs  and  Choral  Music  .  Musician.  Critic,  and 
Public 

Illustrations  comprise  simple  explanatory  music, 
conductor's   core,  and  orchestral  instruments.     780.4 

Kullak,  Adolph. 

The  .-Esthetics  of  Pianoforte  Playing. 
Transl.  by  Dr.  Th.  Baker,  from  the  third 
German  edition,  revised  and  edited  by  Dr. 
Hans  Bischoff.     N.  Y.,  Schirmer,  32S  p.,  %2. 

A  most  admirable  book,  suggestive  alike  to  pianist, 
critic,  or  mere  lover  of  the  art.  Its  most  grievous  de- 
feet  IS  the  Teutonism  of  Ihe  translator  s  English.  The 
author  discusses,  at  the  outset,  the  nature  and  limita 
lions  of  the  pianoforte's  tone,  then  the  history  of  us 
technical  manipulation,  the  "methods''  of  C  P  E. 
Bach,  Cramer,  Hummel,  Kalkbrenner.  Czemy.  De 
Ki>ntski,  Theodore  and  Adolph  Kullak,  Plaidy.  Kbhler. 
Thalberg,  and  Riemann,  and  then  presents  his  theories 
as  to  technique,  lime,  rhythm,  accentuation,  dynamic 
expression,  and  poetical  content  in  pianoforte  music 

786.3 
Pole,  William. 

The  Philosophv  of  Music:  being  the  sub- 
stance of  a  Course  of  Lectures  delivered  at 
the  Royal  Institution  of  Great  Britain,  Feb- 


ruary and  March   1S77.     3d  edition  revised, 
Lund..  Kegan  Paul.     N.  Y..  Scribner.  1891, 
32S  p  .  $3- 
Entirely  trustworthy  781 

Prout,  Ebenezer. 

Coi'NTERi'oiNT :  Strict  and  Free.  Lond., 
Augener.     N.  Y.,  Schuberth   249  p.,  S2. 

781.4 
Harmony  ;  Its  Theory  and  Practice.     Lond.. 
Augener.     N.  Y.,  Schuberth,  254  p..  S2. 

781.3 

Fugue.     Lend.,  Augener.     N.  Y.   Schuberth. 

245  p.,  $2.  786.86 

Double  Counterpoint  and  Canon.  Lond.. 
Augener.     N.  Y.,  Schuberth,  $2.         781.4 

Musical  Form.  Lend.,  Augener.  N.  Y., 
Schuberth.  $2.  ^  781.5 

Instrumentation.  Lond.  and  N.  Y..  Novel- 
lo.  Ewer  &  Co.,  144  p  ,  75  c.  781.6 

Richter,  Ernst  Friedrich. 

Manual  ok  Harmony  .  a  Practical  Guide 
prepared  especially  for  the  Conservatory  of 
Music  at  Leipsic.  Translated  from  the 
latest  German  edition  by  John  P  Morgan. 
17th  edition.  N.  Y..  Schirmer,  1896,219  p.. 
$2. 

For  forty  years  this  has  been  recognized  as  a  stand- 
ard work  A  proof  of  us  wide  popularity  is  that  it  has 
been  iranslated  into  English,  Dutch,  Swedish,  Russian, 
Polish,  and  Italian  Mr.  Morgan's  translation  was 
made  in  1867  from  the  fifth  German  edition,  and  the 
present  is  reprinted  from  the  original  plates.  (See 
Broekhoven.)  781.3 

Tyndall,  John. 
Sound.      3d   edition,   revised   and   enlarged. 
N.  Y..  Appleton.  1S77,  44S  p..  $2. 
Always  an  authority  781.1 


Zahm,  Rev.  J.  A. 

Sound  and  Music.     IIIus. 
1892,  452  p..  §2. 50. 


Chic..   McClurg. 
781.1 


PART    VIII. 


CRITICISM    AND   ANALYSIS. 


.Apthorp,  'William  F. 

Musicians  and  Music  Lovers,  and  Other 
Essays.  N.  Y.,  Scribner.  346  p.,  $1.50. 
Criticism  with  an  agreeable  literary  flavor,  the  re- 
flections and  conclusions  of  a  studious  man  and  an  ex- 
perienced judge.  Two  of  the  essays  discuss  the  rela- 
tionship between  the  art,  the  musician,  the  critic,  and 
the  public.  The  remainder  are  mostly  critical  biog 
raphy,  the  subjects  being  Bach,  Meyerbeer,  Offenbach, 
Franz,  Dresel,  and  Dwight.  780.4 

Chorley,  Henry  F. 

Thirty  Years'  Musical  Recollections, 
Lond.,  Hurst  &  Blackett,  1S62,  2  vols. 
XV,  312.  323  p.     O.P.  780.4 

Music  and  Manners  in  France  and  Ger- 
many. A  Series  of  Travelling  Sketches  of 
Art  and  Society.  Lond.,  Longmans.  1S41, 
.3  vois,,  301,  302,  290  p.     OP.  780  944 


Modern  German  Music.  Lond.,  Smith,  El- 
der &  Co..  1854,  2  vols,  in  I,  371,  41S  p. 
O.P.  780.943 

The  author  was  for  over  thirty  years  musical  re- 
viewer for  the  At/tentFiim  His  criticisms  are  not 
free  from  unreasonable  prejudice,  and  the  significance 
of  the  new  romantic  movement  never  dawned  on  him, 
but  he  was  frank,  honest,  and  controlled  an  interesting 
style.  "Modern  German  Music''  is  a  reprint,  with 
additions,  of  the  best  of  his  writings  in  "  Music  and 
Manners." 

Ctirwen,  John'Spencer. 

Studies  in  Worship  Music.  ist  Series. 
Chiefly  as  regards  Congregational  Singing. 
2d  edition,  revised  and  enlarged.  Lond., 
J.  Curwen  &  Sons.  N.  Y.,  Scribner,  iSSS, 
viii,  507  p..  S2. 

Studies    in    Worship    Music.       2d    Series. 


J/itsua/  Criticism  and  Analysis. 


7» 


Lond.,   J.  Curwen  &  Sons.      N.  Y.,  Scrib- 

ner,  1SS5,  20S  p.,  Si. 25. 

The  second  series  contains  brief  accounts  of  the 
Chapel  Roval  and  the  Choir  Schoolf  of  Westminster 
.•\bbey  and  "St.  Paul's  Cathedral.  The  first  ha-,  an  ex- 
cellent bibliography  of  Protestant  church  music. 

783.0 

De  Lenz,  W.     5iv  Lenz. 

Edwards,  H.  Sutherland. 

Till'.   LvKic.\L  Dr.\m.\.     Essays  on   Subjects. 

Composers,    and     Executants    of    Modern 

Opera.     Lond.,  'W.   H.  Allen  &   Co.,  iSSi, 

2  vols.,  316,  312  p.     O.P. 

Entertaining,  but  not  to  be  taken  too  seriously  as 
criticism. 

Contents:  Ope.atic  Origins;  History  of  Her  Majes- 
ty's Theatre:  Covent  Garden  and  the  Royal  Italian 
Opera:  The  Romantic  and  the  Necromantic:  Lyrical 
rnd  Dramatic  Subjects;  The  picturesque  side  ot  the  "Don 
Juan  Legend;  The  Original  Don  Juan:  Don  Juan  in 
Italy,  France,  and  England;  Moliere's  Don  Juan;  Mo- 
zart's Don  Juan  described  by  Hoffmann;  Alfred  de 
Mussel's  Don  Juan;  Poushbin's  additional  scene  for 
"Faust"  and  new  last  act  for  "Don  Juan";  The 
Faust  of  History  and  of  Legend;  How  Dr.  Faust  be- 
came a  dancer;  The  Operatic  Faust;  The  Flying  Dutch- 
man. Tannhiiuser;  Lohengrin;  Robert  the  Devil;  Mey- 
erbeer since  "Robert  le  Diable",  V'erdi,  and  four  of 
his  Operas;  Aida  and  the  Manzont  Requiem;  Some  of 
Rossini's  Works;  Donizetti  and  Bellini;  The  Mignon 
and  Hamlet  of  .Ambroise  Thomas.  Shakespearian  Ope- 
ras. Carmen;  The  ever-popular  M.^rtha:  An  fJperatic 
Centenary.  Decline  and  Fall  of  the  Tenor;  E.xtinction  of 
the  Ballet:  Operatic  Management;  Musical  Agents: 
Libretti:  Operatic  and  Theatrical  Anomalies:  The  Lit- 
erary I\ialtreatment  of  Music;  Dictionaries  of  Music; 
Grove's  Musical  Diciionarv,  Quartette  Concerts  and 
the  Classical  in  Music;  Reasonableness  of  Opera; 
"Tatra  FUred,  and  the  Music  of  the  Hungarian  Gypsies; 
The  Byeways  of  Bookmaking.  780.4 

Ehlert,  Ijouis. 
Fru.m  thk   Tonk  "World:  a  Series  of  Es- 
says.    Transl.  from  the  German  bv  Helen 
D.  Tretbar.     2d  ed.     N.  Y.,  C.  F.  tretbar, 
307  p.,  Si. 50. 

Criticism  by  one  of  the  most  delightful  writers  on 
music  that  Germany  has  produced  —  a  musician  of 
keen  discernment,  of  warm  love  for  his  art,  and  withal 
a  master  of  a  poetical  and  sympathetic  literary  style. 
"The  second,  undated,  edition  was  published  in  1803, 
and  contains  essays  on  Brahms,  Wagner's  "  Parsifal,  ' 
and  Liszt  as  a  litterateur,  which  are  not  in  the  first 
edition.  Of  special  value  are  the  essays  on  "  Tristan 
und  Isolde,"  the  Bayreuth  festival,  "Parsifal," 
"Schumann  and  His  School,"  "Chopin,"  and 
'■  Brahms."  780.4 

Ella,  John. 

Musical  Sketches   Abroad  and  at  Home. 
"With   original    music    by    Mozart,    Czerny, 
Graun,   and   others.     Vocal  Cadenzas  and 
other  Musical   Illustrations.         3d    ed.    re- 
vised and  edited  by  John   Belcher.     N.  Y., 
Schuberth,  1S78,  xx,'440  p.,  $2.75. 
A  collection  of  notes,  historical,  biographical,  critical, 
and  anecdotical,  written  by  Prof.  Ella  for  the  Reeord, 
which  he  published  in  connection  with   his  chamber 
concerts,  or  "  Musical  Unions,"  as  he  called  them. 

780.4 

Elterlein,  Ernst  von. 

Beethoven's  Symphonies  In'  their  Ideal 
Significance  E.xpi.ained.  Transl.  from  the 
German  with  the  Author's  approval  by 
Francis  Weber.  With  an  account  of  the 
facts  relating  to  Beethoven's  Tenth  Sym- 
phony. Lond.,  Reeves.  N.  Y.,  Scribner, 
118  p.,  $1  50.  785.1 

Beethoven's  Pianoforte  Sonatas.  Ex- 
plained for  the  Lovers  of  Musical  Art. 
Transl.  from  the  German  by  E.  Hill.  With 
a  Preface  by  E.  Pauer.  Lond.,  Reeves.  N. 
Y.,  Scribner,  I iS  p.,  Si. 50.  786.41 


Finck,  Henry  T. 

CiioriN  AND  Other  Essays.     N.  Y.,  Scrib- 
ner, $1.50. 

Contents-  Chopin,  the  Greatest  Genius  of  ihc 
Pianoforte;  How  Composers  Work  .  Schumann  as  Mir 
rored  in  his  Letters;  Slusic  and  Morals.  Italian  and 
(jcrman  Vocal  Styles;  German  Opera  in  New  Vork, 

780.4 

Grove,  Sir  George. 
Beethoven    and     His     Nine    Svmi'honiks. 
Lond.  and  N.  Y.,   Novello,    Ewer  &  Co., 

400  p.,  S2.40. 

The  analyses  of  Beethoven's  Symphonies  which  ap- 
peared for  many  years  in  the  programme  books  of  the 
Crystal  P.alace  Concerts  over  the  signature  |G],  were, 
as  every  English  music-lover  knows,  wrillen  by  Sir 
George  Grove.  They  have  been  reprinted  many  limes 
and  must  stand  as  the  most  suggestive  and  inlereslinb 
popular  commentaries  of  their  kind  ever  written.  In 
this  volume,  published  in  1896,  Sir  George  has  gathered 
them  together,  extended  some  of  them,  and  appended 
notes  and  interesting  historical  data  touching  the  com- 
position of  the  works  and  their  early  performances. 

Hadow,  'W.  H. 

Stidies  in  Modern  Mtrsic.     With  Portraits. 

N.    Y.,     Macmillan.    2   vols.,    335,    312  p., 

S4.50. 

Chiefly  taken  up  with  critical  biography,  written 
with  discernment,  independence,  and  forccfulness,  and 
in  an  agreeable  style.  The  first  series  treats  of  Berhoz, 
Schumann,  and  Wagner :  the  second  of  Chopin,  Dvorak, 
and  Brahms.  The  opening  essayof  the  first  seriesibde- 
voted  to  Music  and  Musical  Criticism  :  of  the  second  to 
a  study  of  the  Outlines  of  Musical  Form.  These  es- 
says are  ingenious  efforts  to  discover  a  basis  for  judg- 
ment on  musical  art-works,  and  are  valuable  for  their 
suggestiveness.  780.4 


Vienna,  BraumdUer, 


Hanslick,  Eduard. 

AUS  DEM  CONCERTSAAL. 

1S70,  534  P-.  S4- 

Die  MoDERNE  Oper.  Berlin,  .\.  llofmann& 
Co.,  1875.  341  p.     O.P. 

Ml'siKAi.iscHE   Stationen.     2d    ed.  Berlin. 

Allgemeiner   Verein   fiir  Deutsche  Litera- 

tur,  1SS5,   361    p.,  Si. So.  (Pan  11.  of  Die 
Modernc  Oper.) 

AlS  DEM  Opernlebe.n  der  Gegenwart. 
Berlin,  All.  V.  fiir  D.  L.,  1S85.  (Part  lU. 
of  Die  Madtrne  Oper).  379  p.,  li.So. 

St-ii'E.  Aufsatze  fiber  Musilv  und  Musiker. 
Wien,  Prochaslia,  1SS5,  291  p.,  S2.25. 

Mi'SiKALiscHES  Skizzenbuch.  3d  cd.  Ber- 
lin, All.  V.  fiir  D.  L..  1S88.  (Part  IV.  of 
Die  Moderne  Oper).  335  p.,  $1.80. 

MUSIKALISCHEStlNDLlTTERARISCIIES.       Berlin, 

All.  V.   fiir  D.  L.,  1S89.     (Part  V.  of  Die 
Moderne  Oper),  359  p..  Sl-8o. 

CoNCERTE,  COMPONISTEN,  1:nD  ViRTfOSEN, 
der  letzten  fiinfzehn  Jahren  1S70-18S5. 
Berlin,  All.  V.  fur  D.  L.,  1SS7,  447p.,^2.40. 

Acs  DEM  TagebIj-ciie  eines  Mt'siKERS.  Ber- 
lin. All.  V.  fUr  D.  L..  1S92.  (Part  VI.  of 
Die  Moderne  Oper).  360  p.,  $l.So. 

FrENFjAHREMcsiK(iS9i-iS95).     Berlin,  All. 

V.  fiir  I).  L..  1S96.     (Part  VII.  of  Die  Mo- 

ilerne  Of'cr),  402  p.,  Sl.So. 

Reprints  of  the  critical  fcuillctons  of  the  cleverest, 
'wittiest,  and  most  genial  of  modern  German  critics, 
who  has  been  on  the  staff  of  the  Stue  Freie  nrtsse 
since  1864,  and  Professor  of  Music  at  the  University  of 
Vienna'since  1861.  He  has  been  long  the  leader  of  the 
opposition  to  Wagner,  bis  theoiics  of  the  capacity  of 


72 


Musical  Criticism  and  Analysis. 


musical  expression  being  inconsistent  with  the  modern 
tendency.  (See  Hanslick.  The  Beauti/ui  i?t  Music,  \n 
Part  VII. >  In  1894  Dr.  Hanslick  published  an  autobi- 
ography under  the  title : 

Afs  Meinem  Leben  (2  vols.,  Berlin,  All.  V  llir 
D.  L.).  See  also  Hanslick,  Geschickte  des  Coucfrt- 
■wfsens  in  U'ien  in  Part  II.  780.943 

Henderson,  W.  J. 

Pkeiadf.s  and  Studies  :  Musical  Themes  of 
the  Day.     N.  Y.,  Longmans,  245  p.,  $1. 

A  bookot  cr'ticism,  suggestive,  instructive,  and  filled 
with  the  charm  of  good  literature.  Abou'  hall  the  vol- 
ume IS  devoted  to  Wagner  and  his  latter-day  works  : 
the  rest  to  a  study  of  the  evolution  of  pianoforte  music 
and  a  sympathetic  essay  on  Schumann  and  the  pro- 
gramme symphony.  780.4 

Holmes,  Edward. 

A  Ramhle  Among  the  Musicians  of  Ger- 
many. Giving  some  Account  of  the  Operas 
of  Munich.  Dresden.  Berlin,  and  other 
cities,  with  Remarks  upon  the  Church 
Music,  Singers,  Performers,  and  Compo- 
sers ;  and  a  sample  of  the  Pleasures  and 
Inconveniences  that  await  the  Lover  of  Art 
on  a  similar  Excursion.  By  a  Musical 
Professor.  Lond.,  Hunt  &  Clarke,  1S2S, 
286  p.     O.P. 

A  charming  record,  by  an  acute  observer  and  lively 
chronicler,  of  a  tour  in  Germany,  undertaken  in  or  be- 
fore 1827.  780.943 

Kleczynski,  Jean. 

Choi'In's  Greater  vVorks  (Preludes,  Bal- 
lads, Nocturnes,  Polonaises,  Mazurkas). 
How  they  should  be  understood.  Includ- 
ing Chopin's  Notes  for  a  Method  of  Meth- 
ods. Transl.  with  additions  by  Natalie 
Janotha.     N.  Y.,  Scribner,  115  p.,  Si.y";. 

786.3 
Kretzschmar,  Hermann. 

FCiiRER  iniKCH  den  Concertsaal.  Leipsic, 
Liebeskind,  3  vols.  I.,  Sinfonie  und  Suite; 
II.,  Kirchliche  Werke;  III.,  Oratorien  und 
Weltliche  Chorwerke.  313,  3S0,  379  p., 
«5-50. 
Analyses  with   thematic   illustrations ;  concise  and 

admirable.  780.943 

lia  Mara  (Marie  Lipsius). 

Thoughts  of  Great  Musicians.  From  the 
original  German  by  C.  P.  S.  Lond.,  Au- 
gener.     N.  Y.,  Schuberth,  See. 

The  original,  Gedanken  beriikmter  Mitsiker  Uher 
ikre  Kuust,  is  a  useful  and  well-classified  conecti'on  of 
utterances  by  eminent  musicians  touching  their  art. 
The  English  version  presents  a  smaller  number  of 
quotations,  and  the  translation  is  not  impeccable. 

780.2 
Ijenz,  W.  de. 

Beethoven  et  ses  trois  styles.  Analyses 
des  Senates  de  Pianoforte  suiviesde  I'Essai 
d'un  Catalogue  critique,  chronologique  et 
anecdotique  des  CEuvres  de  Beethoven. 
2  vols.,  800  p.  Brussels,  Schnee.  Also  St. 
Petersburg  and  Paris.     O.P. 

Largely  rhapsodical,  but  inspired  by  genuine  enthu- 
siasm fo-  Beethoven's  genius  and  well  calculated  to 
promote  appreciation  of  his  works.  (See  Oulibischeff 
in  Part  V.)  780943 


Neitzel,  Otto. 

Der  Fuehrer  durch  dif,  Oper  des  Theaters 
DER  Gegenwart.     Text,  Musik,  und  Scene 
erliiuternd.      Leipsic,    Liebeskind,    1S90,    i 
vol.  in  2  parts,  vi,  2S6,  260  p.,  $4.80. 
Excellent  analyses  of  German  operas.  782.3 

Parry,  O.  Hubert  H. 

The  Art  ok  Music.    N.  Y.,  Appleton,  374  p.. 


A  series  of  thoroughly  admirable  essays  on  the  art 
s  historical  growth,  free  from  biographi- 


of  music  and  its 

cal  detail,  scientific  in  spirit  and  sound 


780.4 


Pfohl,  Ferdinand. 

Die  Moderne  Oper.  Leipsic,  Carl  Reissner, 
1894,  401  p.,  $2.10. 

The  author  is  one  of  the  most  efficient  newspaper 
critics  of  Germany,  and  has  been  on  the  staff  of  the 
Hamburger  Nachrichten  since  1891.  His  book  deals 
chiefly  with  the  operas  ot  thv  las  decade  or  two,  the 
chapters  bearing  the  headings  I.,  Modern  Opera;  II., 
Peter  Cornelius  and  his  "Barber  of  Bagdad";  III., 
Latterday  Romanticism  and  the  Afterbloom  of  grand 
opera;  IV..  Verdi;  V.,  Ventism  and  its  train;  VI., 
Comic  Opera;  VII.,  The  '^o^'^\^l  (V'olkstkUmliche) 
Tendency.  782 

Schumann,  Robert. 

Music    and   Musicians.     Essays   and    Criti- 
cisms.    Transl.  by  Fanny  Raymond  Ritter. 
5th    edition.       N.    Y.,    Schuberth,    1S95,    2 
vols.,  $5.50. 
An   English    version  of   Schumann's    Gesanniieite 

Schri/ten.  780.4 

Streatfeild,  R.  A. 

The  Opera.  A  sketch  of  the  Development 
of  Opera,  with  full  descriptions  of  every 
work  in  the  Modern  Repertory.  With  an 
Introduction  by  J.  A.  FuUer-Maitland. 
Lond.,  John  C.  Nimmo.  Phila.,  J.  B.  Lip- 
pincott  Co.,  1S97,  336  p.,  $2. 
Well  written  and  trustworthy.  782 

Teetgen,  Alexander. 

Beethoven's  Symphonies  Critically  Dis- 
cussed. With  Preface  by  John  Broad- 
house.  Lond.,  Reeves.  N.  Y.,  Scribner, 
iiS  p.,  $1.50.  785.1 

Thibaut,  A.  F. 

Purity  in  Music.  Transl.  by  J.  Broadhouse. 

Lond.,   Reeves.  N.   Y.,   Scribner,   103  p., 

$1.25,  780.1 

Upton  George  P. 

The  Standard  Cantatas  ;  their  stories, 
music,  a'nd  composers. 

The  Standard  Operas  :  their  plots,  music, 
and  composers. 

The  Standard  Oratorios  :  their  stories, 
music,  and  composers. 

The  Standard  Symphonies:  their  stories, 
music,  and  composers.  Chic,  A.  C.  Mc- 
Clurg  &  Co.,  4  vols.,  $1.50  each.  780.4 


Music. 


73 


PART  IX. 


ENCYCLOP.-EDIAS   AND    DICTIONARIES. 


Banister,  Henry  C. 

Music.     N.  Y.,  Holt,  325  p.,  So  c. 

A  handbook,  most  admirably  arranged,  with  defini- 
tions at  once  terse  and  luminous.  It  ou^ht  to  be  at  the 
elbow  of  every  reader  of  musical  criticism  or  analysis. 

780.2 


•Champlin,   John  Denison,  /;-., 
William  F. 


ui  Apthorp, 


Cyclop.^dia  of  Music  and  Musicians.  With 
more  than  1000  illustrations,  N.  Y.,  Scrib- 
ner,  3  vols.,  815. 

A  commendable  feature  is  the  guide  to  musical  litera- 
ture embodied  in  the  work.  An  edition  de  luxe  of  550 
numbered  copies  with  decorated  parchment  binding, 
3  vols.,  quarto,  $75.  780.3 

Clement,  Felix,  and  Larousse,  Pierre. 

DiCTiONNAiRE  HF.s  Ol'ERAS  (Dictionnaire 
lyrique)  contenant  I'analyse  et  la  nomen- 
clature de  tous  les  operas  et  op6ras- 
comiques  reprfesentes  en  France  et  a  I'etran- 
ger  depuis  I'origine  de  ce  genre  d'ouvrages 
jusqu'a  nos  jours.  Complete  par  des 
Supplements  p6riodiques  maintenant  ^  cet 
ouvrage  un  caractere  d'actualite.  Paris,  Ad- 
ministration du  grand  Dictionnaire  univer- 
sel.  N.  Y.,  Lemcke  &  Buechner,  Q^2p., 
$7.  780.3 

•Orove,  Sir  George. 

Dictionary  of  Music  and  Musicians  (a.d. 
1450-iSSg),  by  eminent  writers,  English 
and  foreign.  IIIus.  Appendi.x  edited  by 
J.  A.  FuUer-Maitland.  lUus.  N.  Y.,Mac- 
millan,  5  vols.,  $25. 
The    only   really    comprehensive    encyclopcedia    ol 

music  in  English.    Frequently  faulty  in  statement  {the 


appendix  is  chiefly  occupied  with  corrections)  and  not 
always  well  balanced  in  its  estimate  of  the  musical 
activities  of  the  different  peoples  of  the  world:  yet  an 
indispensable  book  of  reference  to  the  serious  student. 

780.3 

Mendel,  Hermann,  i7»</Rei8smann,  A. 

Musikai.isches  Conversations-  Le.\  i  con. 
Eine  Encyklopadie  der  Gesammten  Musik- 
alischen  Wissenschaften.  Berlin,  R.  Op- 
penheim.  1870-1SS2,  12  vols.,  marks  88. 50. 

The  most  complete  and  scholarly  musical  encyclo- 
paedia  ever  undertaken  in  German.  Dr.  Mendel  car- 
ried It  on  to  the  letter  M  in  Vol.  VII,  (he  died  in 
1876).  After  his  death  Herr  Reissmann  undertook  the 
editorship.  List  &  Francke,  of  Leipsic,  began  the 
issue  of  a  cheap  edition  in  1894,  3  v.,  pap.,  40  marks, 
N.  Y.,  Schuberth,  $10.80.  780.3 

Riemann,  Hugo. 

Musik-Le.xikon.  4th  edition.  Leipsic,  Max 
Hesse,  1894,  1210  p.,  12  marks. 

Of  this  admirable  work  an  English  translation  by  J. 
S.  Shedlock  has  been  published'in  i^  parts  by  Augener 
in  London  (N.  Y.,  Schuberth),  each  part  40  c.:  1  vol., 
cl.,$6. 

Opern-Handbuch.  Repertorium  der  Dra- 
matisch  -  musikalischen  Literatur  (Opern, 
Operetten,  Ballette,  Melodramen,  Panto- 
mimen,  Oratorien,  dramatische  Kantaten, 
etc.).  Leipsic,  C.  A.  Koch,  18S7,  743  p., 
$4.80.  780.3 

Stainer,  Sir  John,  and  Barrett,  W.  A. 

Dictionary  of  Musical  Terms.  Lond.  and 
N.  Y.,  Novello,  Ewer  &  Co.,  456  p.,  $3. 

A  standard  authority  and  the  best  work  of  its  kind 
in  English.  The  publishers  have  issued  an  abridged 
edition  in  their  series  of  Music  Primers,  96  p.,  65  c. 

780.3 


PART    X. 


MUSICAL    JOURNALS. 


The  Etude,  170S  Chestnut  St.,  Phila.,  Month-  | 
ly,  $1.50  per  annum.  ) 

The  Musical  Courier,  ig  Union  Square,  N. 
Y.,  Weekly,  $4  per  annum. 

Music,  1402-5  Auditorium  Tower,  Chic, 
Monthly,  $3  per  annum. 

The  Musical  Times,  i  Berners  St.,  Lond.  21 
E.  17th  St.,  N.  Y.),  Monthly,  $1.25  per 
annum. 

The  Musical  Standard,  1S5  Fleet  St.,  Lond., 
E.  C  Weekly,  $5.20  per  annum. 

Die  Redenue  Kunste,  Leipsic  (Constantin 
Wild's  Verlag),  Weekly,  $2.40  per  annum. 

Musikalisches  Wochenblatt,  Konigstrasse, 
No.  6,  Leipsic,  Weekly,  $3.20. 


MONATSHEFTE  FUR  MUSIKGESCHICHTE,  Robert 
Eitner,  Templin. 

Allgemeine  Musikzeitung,  27  Spreestrasse, 
Charlottenburg  (Berlin).  Weekly,  $3.20  per 
annum. 

SiGNALE  FOR   die  MUSIKALISCIIE  WeLT,  RoSS- 

strasse  No.  22  I,  Leipsic,  Weekly,  $2.40  per 
annum. 

Gazetta  Musicale  di  Milano,  Ricordi,  Mi- 
lan, Weekly,  $4.50. 

Le  Menestrel,  Paris,  H.  Heugel,  Weekly, 
$4  per  annum. 

ZeITSCHRIFT  FCR    lN5TRUMENTENBAU,.Paul  de 

Wit,  Leipsic,  Weekly,  S3. 20  per  annum. 


Music 


PART    XI. 


SECOND-HAND   CATALOGUES. 


Baer,  Jos.  &  Co.,  Rossmarkt  iS,  Frankfort- 
on-the-Main. 

Beijer,  J.  L.,  Neudegasse  21,  Utrecht. 

Kertlin;j,  R.  Viktoriastrasse  29,  Dresden. 

Cohn,  A.,  Mohrenstrasse  53,  Berlin  W. 

Geiger  &  Jedele,  Stuttgart. 

Gilhofer  \'  Ranschburg,  I  Bognerstrasse  2, 
Vienna. 

Kirchoff  &  Wigand,  Marienstrasse  19,  Leip- 
sic. 

Liepmannsohn,  L.  Bernburgerstrasse  14,  Ber- 
lin S.  W. 

List&  Francke.Universitatsstrasse  i3,Leipsic. 

Meehan,  B.  &  J.,  32  Gay  St.,  Bath,  Eng. 

Parnell,  L.  &  S.,  12  Rockley  Rd.,  Lend.  W. 

Reeves,  William,  1S5  Fleetest.,  Lond. 

Schmidt,  C.  F. ,  Cacilienstrasse,  Heilbronn. 


Scribner's,  Charles,  Sons,  153  Fifth  Ave.,  N. 
'.  (In  appendix  to  "  Musical  Literature  List  "). 
Spirgatis,  Marienstrasse  23,  Leipsic. 
Weigel,  Oswald,  Konigstrasse  i,  Leipsic. 
Welter,  H.,  59  Rue  Bonaparte,  Paris. 


In  Germany:  i  mark  =  i  shilling  =  l  franc  25 
centimes. 

In  Austria  :  i  Gulden  (fl.)  =  i  mark  So  pf.  = 
I  shilling  10  pence  =  2  francs  20  centimes. 

In  Holland  ;  i  Dutch  florin  =  2  francs  10  cen- 
times  =  i  mark  72  pf.  =  1  shilling  S  pence. 

Lemcke  &  Buechner,  S12  Broadway,  G.  E. 
Stechert,  11  East  Sixteenth  St.,  and  E.  Schuberth 
&  Co.,  23  Union  Square,  N.  Y.,  import  second- 
hand books  on  order  at  the  following  prices, 
duty  not  included  :  mark,  28  c.  franc,  24  c, 
Austrian  florin,  48  c,  shilling,  28  c. 


INDEX. 


Abbey,  E.  A.  .Tt-f  FenoHosa,  Mural 
painting:  in  Boston  Public  Librarj'i 
22;  Smith,  American  illustrators,  35. 

Ache,  Carand'.  Sfe  Morin,  French 
illustrators,  30. 

Acoustics,  musical,  Broadhouse,  69. 

.\cropolis  of  Athens,  D'Ooge,  5  ;  dis- 
coveries made  on,  see  Gard  ner, 
Chapters  in  Greek  history,  5;  paint- 
ed statues  found  on.  in  1883  and 
1886,  see  ColIig:non,  Histoire  de  la 
sculpture  Grecqiie,  19 ;  buildings 
on,  Furtwung^ler,  23.  See  also  Ath- 
ens. 

Action  in  art.  Beard,  16. 

Adam  et  Clodion,  Thirion,  36. 

A  Jams,  Elizabeth  L.  S.  6Vt- Steele,  F. 
M.,  and  Adams,  53. 

Adamy,  R..  38. 

Adeline,  J.,  14. 

/Eg-ena,  temple  of.  See  Collig-non, 
Histoire  de  la  sculpture  Grecque, 
19. 

^Esthetic  principles,  Marshall  8. 

j-Esthetics,  musical,  Ambros,  69  ;  con- 
tribution to  the  revival  of,  Hanslick, 
69 ;  of  pianoforte  playing,  Kullak, 
70. 

Aldegrever.  See  Scott,  The  little 
masters,  35. 

Alexandre,  A.,  15,  48. 

Alford,  Lady  M.,  48. 

Alger,  Abby  L.,  trans.  Sec  Reiss- 
mann,  66;  vVasielewski,  67. 

Allen.  W.  F.,  Ware,  C.  P.,  and  Har- 
rison, Lucy  M.,  61. 

Alls,eincine  Musikzeitunff^  73. 

Alston,  Washington,  ^^t*  Sweetser, 
Artist  biographies,  36. 

Altedorfer.  Sec  Scott,  The  little 
masters,  35. 

Alj-pius,  on  music.  5tf?Musici  Scrip- 
tores  Gr^ci,  60, 

Ambros,  A.  W.,  55,  69;  see  also  Prefa- 
tory note,  54. 

Ambrosian  chant.  See  Pal^ographie 
Musicale,  58. 

American  architecture,  Schuyler,  45  ; 
early,  sec  I  sham  and  Brown,  Early 
Rhode  Island  houses,  42. 

American  art,  Koehler,  7  ;  Benjamin, 

'7- 

American  Folk-lore  Society.  See  Ed- 
wards, Bahama  songs  and  stories, 
62. 

American  illustrators,  Smith,  35. 

American  Indians,  study  of  the  music 
of,  Baker,  61;  of  British  Columbia: 
Nootka,  Salish,  and  Kwakiutl 
tribes  of  the  Pacific  Coast,  Boas,  61; 
Omaha  Indian  music,  Fletcher,  62. 

American  Journal  oj"  Archceology. 
See  Gard  ner.  New  chapters  in 
Greek  history,  5  ;  Gayet,  L'art 
Arabe,  6. 

American  music,  Mathews.  58;  Ritter, 
59  ;  folk-song  in  America,  see  Allen, 
Ware,  and  Harrison,  Slave-songs 
of  the  U.  S.,  61;  Marsh,  Story  of  the 
jubilee  singers,  62.  Sec  also  Ameri- 
can Indians,  Canada. 

Amiot,  J'ere  J.,  61. 

Ancient  and  mediseval  music  (de- 
partment), 60-61. 

Ancient  art,  Menard,  9 ;  Woltmann 
and  Woermann,  37.  See  also  An- 
tiquities, Archaeology, 

Ancient  Coptic  churches  of  Egypt, 
Butler,  32- 

Anderson,  W.,  16;  see  also  Briicke,  18. 

Anderson,  W.  C.  F.,  ed.  See  Schrei- 
ber,  Atlas  of  classical  antiquities,  12. 

Angelico,  Fra.  Sec  Sweetser,  Artist 
biographies,  36. 

Angers,  d*.  See  Blanc,  Artistes  de 
mon  temps,  3. 

Annals  of  an  old  manor-house,  Harri- 
son, 42. 

Antiphonaire  de  Saint  Gregoire,  Lam- 
billotte,  60;  see  also  Gevaert,  60; 
Pal^ographie  Musicale,  58. 

Antiquities,  Oriental,  Babelon,  z  ; 
English,  Jewitt,  7;  Roman,  Helbig, 


7,  Helbig  rt«f/  Lanciani,  7,  Ramsay 
a//*/ Lanciani,  11;  Frencii,  Roman 
and  Gallo- Roman,  Reinach,  11  ; 
Homeric,  Seymour,  12  ;  classical, 
Schrieber,  12,  Harper,  14.  Sevffert, 
15;  Greek  and  Roman,  Smith,  15; 
art  of  mosaic  in  classical,  see  Gcr- 
spach.  La  mosalquc,  41.  Sec  also 
Gailhabaud,  Monuments  anciens  et 
modernes,  41;  also  Archaeology, 
Monuments. 

Apollo  Belvedere.  See  FurtWiinglcr, 
Masterpiecesof  Greek  sculpture,  rj. 

Apthorp,  W.  F.,  63,  70;  see  also  Cham- 
plin,  J.  D.,  (7 «(/ Apthorp,  73. 

Arabian  art,  Gayet,  6. 

Arabian  music,  Kiese wetter,  Die 
Musik  der  Araber,  62. 

Aratra  Penielici,  Ruskin,  33-34. 

Archaeology,  Prefatory  note  on,  2 ; 
Conway,  4;  Emerson,  5;  Waring,  14; 
Christian,  Perate,  10;  early  medix- 
val,  see  Frothingham,  Christian 
Rome,  5;  Egyptian,  Maspero,  8.  Pc- 
iric,  11;  Etruscan  and  Roman.  Mar- 
tha, 8  ;  Greek,  Brunn,  3,  Collignon, 

4,  Murray,  4.  10,  Diehl,  5,  Gardner, 

5,  Schuchhardt,  12;  Roman,  Helbig 
and  Lanciani,  7.  S-:e  also  names 
cf  various  countries  and  special  cit- 
ies as  Athens.  Pompeii,  Rome;  also 
Antiquities.  Monuments. 

Architects,  biographies  of,  Vasari,  13. 
Architecture  (department),  38-48. 
Architectural    illustrations,   Billings, 

39- 

A  rchitectural  Record.  See  Fletcher 
and  Fletcher,  41  ;  Goodyear,  41  ; 
Isham  and  Brown,  42. 

Architecture,  Prefatory  note  on,  38 ; 
grammar  of,  Blanc,  3;  symbolical, 
Lethaby,  8;  materials  and  processes 
of  ancient,  j«v  Middleton,  Remains 
of  ancient  Rome,  9;  ruin  of,  see  Mor- 
ris, Hopes  and  fears  for  art,  9;  of 
ancient  times,  see  Perrot  a//(/Chi- 
piez,  Histories  of  ancient  art,  11  ; 
Avery  library  of,  38-39  ;  history  of, 
Adamy^S,  Fergusson,  40-41,  Fletch- 
er rt«(/ Fletcher,  41,  Hamlin,  41-42* 
Lewis  and  Street,  42,  Mathews,  43, 
Ramt'e,  44,  Sturgis,  46,  see  also 
Gailhabaud,  Monuments  anciens  et 
modernes,  41  ;  encyclopaedia  of, 
Gwilt,  41 ;  cyclopaedia  of,  Long- 
fellow, 43;  styles  of,  sec  Rosengar- 
ten.  Die  Archiiektonischen  Stvlar- 
ten,  45;  Seven  lamps  of,  Ruskin, 
45  ;  for  general  readers,  Statham, 
46;  lack  of  originality  in.  Sturgis, 
46 ;  classical  and  early  Christian, 
Smith  and  Slater,  46;  discourses  on, 
Viollet-Ie-Duc,  47;  civic  and  relig- 
ious, see  Viollet-Ie-Duc,  Histoire 
d'un  hotel  de  ville  et  d'un  cathe- 
drale,  47.  See  also  Arch.-eology, 
Building, Churches,  Homes, Houses, 
Middle  Ages,  Renaissance ;  also 
names  of  schools  of  architecture,  as 
Byzantine  architecture.  Domestic 
architecture,  Gothic  architecture. 
Oriental  architecture.  Military  arch- 
itecture, etc. ;  also  names  of  coun- 
tries, as  English  architecture,  Jap- 
anese architecture,  etc. 

Arends,  L.  A.  F.,  60. 

Arezzo,  Guido  de,  Kiesewetter,  60. 

Ariadne  Florentina,  Ruskin,  34. 

Aristoteles,  on  music.  See  Musici 
Scriptores  Grxci,  60. 

Aries,  buildings  of  the  Roman  time 
and  Middle  Ages  in.  Sec  Macgib- 
bon.  Architecture  of  Provence  and 
the  Riviera,  43. 

Armor,  value  of  seals  in  determining 
dates  of,  see  Lecoy  de  la  Marche. 
Les  sceaux,  27  ;  on  the  plates  of 
tombs,  see  Macklin,  Monumental 
brasses,  28. 

Arms  and  armour,  in  antiquity  and 
the  Middle  Ages,  lioutcll,  49;  guide 
toancient,  Demmin,  Die  Kricgswaf- 
fen  in  ihrer  Historischen  Entwicke- 


lunp  von  der  Altesten  Zcilcn  bis  auf 
die  Gcgenwart,  49;  Lcsarmts,  Main- 

dron,  51;  Frencii,! n  the  Midtllc  Ages, 
ft-f  VioIlet-le-Duc,  Diclionnaire  rai- 
sonnt'  du  mobiliVr  Franyais,  53. 

Armstrong,  W.,  16;  trans. ^  j<v  Perrot 
and  Chipicz,  Histoire  de  l'art  dans 
I'antiquit J,  lo-i  i ;  Corroycr,  L'archi- 
tecturc  Gothique,  39,  48. 

Art,  Colvin,  4,  Moody,  9,  Palgrave, 
10,  Rossetti,  12,  Ruskin,  12^  Seclcy^ 
12,  Sturgis,  13,  Tame,  13,  Child,  18; 
histories  of,  Bayet,  2,  Dc  Forest,  4, 
Menard,  9,  Schultz,  12,  Rosenberg, 
12  ;  in  ancient  times,  Perrot  and 
Chipiez,  lo-ti  ;  grammar  of,  Blanc, 
3;  dawn  of,  Conway,  4;  of  the 
xviii.  century,  Dc  Goncourt,  4  ;  in 
the  modern  state,  Dilke,  5;  imita- 
tive. Dyer,  5;  ministry  of,  Gambier, 
5;  Kunst  u.  Kiinsller  des  Mittelal- 
ters  u.  der  Neuzcit,  Dohme,  5 ; 
thoughts  about,  Hamcrton,  7 ;  L'op- 
tique  et  1',  Laugcl,  8;  history  of, 
Menard,  9  ;  hopes  and  fears  for, 
Morris,  9,  51  ;  excursions  in,  Story, 
1^;  philosophy  of  ideal  in,  Taine,  13; 
dictionary  of,  Adeline,  14;  study  of 
in  universities,  Waldstein,  14;  action 
in,  Beard,  16;  expression  as  con- 
nected with.  Bell,  i7;origtn  of  mod- 
ern, Courai'od,  20;  man  in,  Hamer- 
ton,  24;  talks  on.  Hunt,  25  ;  ten  lect- 
ures on,  Poynter,  3'  ;  mysticism  in, 
see  Ruskin,  Aratra  Penielici,  33-34  ; 
representative  and  decorative  of 
IV.  to  xii.  centuries,  see  Mdntz,  La 
mosaTquechr^tienne,  44;  lectures  on, 
Scott,  53.  See  also  also  Decorative 
art,  Renaissance,  Sculpture ;  also^ 
for  the  art  of  various  countries,  see- 
the  name  of  the  country. 

Art  and  criticism,  Child,  i3. 

Art  education. Hunt,  W.  H.,  .^tv  Trans- 
actions of  the  National  Association 
for  the  Advancement  of  Art,  53.  See 
also  Artists. 

Art  for  art's  sake.  Van  Dyke,  36. 

Art  for  the  villa.  See  Moore,  Im- 
pressions and  opinions,  29. 

Art  handbooks.    See  Poynter,  31. 

Art  in  America,  Benjamin,  17. 

Art  in  the  modern  state,  Dilke,  5. 

Art  instinct.  See  Brownell,  French 
traits,  3, 

Art  of  manufactures.  See  Industrial 
art. 

Art  out  of  doors,  Van  Rensselaer,  47. 

Art  schools  of  mediaeii'al  Christendom, 
Owen,  10. 

Art  tour  to  northern  capitals  of  Eu- 
rope, Atkinson,  2. 

Artaria.    See  Beethoven,  63. 

Arteaqa,  S.,  56. 

Artists.  Artistes  de  mon  temps,  Blanc, 
3;  L'education  de  I'artiste,  Ches- 
neau,  3;  Kunst  u.  Kiinstler  des  Mit- 
telaltcrs  u.  der  Neuzcit,  Dohme,  5; 
at  the  World's  Fair,  ^fillet,  9;  of 
Spain,  Stirlintr-Maxwell,  12-13;  of 
XIX.  century,  Clement  and  Hutton, 
14;  Allgemeines  Kiinstler-Le.xikon 
Oder  Leben  u.  Werkc  der  beriihmt- 
esten  bildern  den  Kiinstler,  Scu- 
bert,  15;  Biographisclies  Kunstler- 
Lcxikon  der  Gegenwart,  MUIler,  15; 
Artistes  Anglais  contemporains, 
Chesneau,  18;  Early  Flemish,  Con- 
way, i9;classificali»mof,  jfV  Muthcr, 
History  of  modern  painting,  30; 
Dictionary  of  English,  Redgrave, 
32.  See  also  Art  education;  Biog- 
raphies; Painters;  SculjJtors. 

Arts  and  crafts  essays,  Morris,  51-52. 

Asia,  Eastern,  ancient  architecture 
in.  See  Smith  a  nd  Slater,  Architect- 
ure, classical  and  early  Christian,  46. 

Asia,  Western,  origin  of  European 
architecture  in.  See  Fergusson,  His- 
tory of  architecture  in  all  countries, 
40 ;  ancient  architecture  in,  see 
Smith  and  Sla'erj  Architecture, 
classical  and  eajly  Christian,  46. 


76 


///t/t'X. 


Asia  Minor,  recent  excavations  in, 
Gardner,  s;  hi,;tory  of  ancient  art 
in,  Pcrrot  antf  Cnipiez,  ii;  cities 
in,  sfe-  Longfetlow,  Cyclopaedia  of 
works  of  architecture,  43. 

Assyria,  antiquities  of,  Rabelon,  2, 
see  a/so  Pcrrot  tim/  Chi:)iez,  His- 
tory of  ancient  art  in  Egypt  and 
Syria,  11;  struggle  of  nations  in, 
Maspcro,  g;  ancient  architecture  in, 
see  Smith  am/  Slater,  Architecture, 
classical  and  early  Christian,  46. 

Assyrian  potterj'.  Birch,  48. 

Assyrian  sculpture,  Red  ford,  32. 

Astor  Library,  musical  department 
of.  See  Prefatory  note,  55;  Musici 
Scriptores  Greeci,  60. 

Athens,  studies  in,  see  Harrison,  In- 
troductory studies  in  Greek  art,  7; 
mythology  and  monuments  of  an- 
cient, Harrison,  7.  See  aiso  Acrop- 
olis. 

Atkinson,  J.  B.,  2. 

Atkinson,  T.  D.  See  Foster,  J.  E., 
««(/ Atkinson,  50. 

Atlas  of  classical  antiquities,  Schrei- 
ber,  12. 

Avery  Architectural  Library,  38-39. 
See  aiso  Prefatorj'  note,  3S. 

Babelon,  E.,  2,  16. 

Babylon,  Sayce,  12;  antiquities  of, 
Cabclon,  2. 

Bacchius,  on  music.  See  Musici  Scrip- 
tores  Graeci,  60. 

Bach,  C.  P.  E.  Scl'  Rimbault,  Piano- 
forte, 5q;  KuUak,  ..Esthetics  of 
pianoforte  playing,  70. 

Bach,  Johann  Sebastian,  Poole,  66; 
Spitta,  66;  see  aiso  Bitter,  Beitrage 
zur  Geschichte  des  Oratoriums,  56; 
Rimbault,  Pianoforte,  59;  Apthorp, 
Musicians  and  music-lovers,  70. 

Bacon,  H.,  16. 

Bahama  songs  and  stories,  Edwards, 
62. 

Baint,  G.,  63;  see  aiso  Kandler,  Uber 
das  Leben  u.  Werke  des  G.  Pier- 
luigi  der  Palestrina,  64-65. 

Baker,  T.,  6i,  trans.  See  Jadassohn, 
70,  Kullak,  70. 

Baldry,  Alfr.  L.,  16. 

Balfour,  H.,  48. 

Balkan  peninsula,  cities  of.  See  Long- 
fellow, Cyclopaedia  of  works  of 
architecture,  43. 

Baltazarini  (M.  de  Beaujoyeulx).  See 
Celler,  Les  origines  de  I'op^ra  et  le 
ballet  de  la  reine,  57. 

Banister,  H.  C,  73. 

Barber,  E.  A.,  48. 

Barbizon  school  of  painters,  Thom- 
son, 36. 

Bargiel.  See  Fuller-Maitland,  Mas- 
ters of  German  music,  64. 

Barret,  W.  A.  See  Stainer,  Sir  J., 
and  Barret,  73. 

"Bartolommeo,  />«,  Scott,  34. 

Barye,  A.  L.,  Alexandre,  15;  see  aiso 
Blanc,  Artistes  de  mon  temps,  3. 

Barzaz-Rreiz,  Vi'lemarqul-,  63. 

Bas-reliefs,    Renaissance    and    later, 

I      see   Maskell,  description  of  ivories 

in  South  Kensington  Museum,  51. 

Bastien-Lepage,  Jules,  Cartwright,  18. 

Baudry,  Cox,  20. 

Baumker,  W.  Sec  Ambros,  Geschich- 
te der  Musik,  55. 

Bayet,  C,  2,  16. 

Bazzini.  See  Streatfeild,  Masters  of 
Italian  music,  66. 

Beard,  W.  H.,  16. 

Beauty,  ideas  cf.  See  Ruskin,  Mod- 
ern painting,  33. 

Beauty  of  form  and  grace  of  vesture, 
Steele  a  «c^  Adams,  53. 

Beckwith,  J.  C.,  16;  see  aiso  Modern 
French  masters  29. 

Beethoven,  Ludwig  van,  63,  Marx, 
65,  Nohl,  65,  Nottebohm,  65,  OuU- 
bischeff,  65.  Schindler,  66,  Thayer, 
66-67,  Grove,  71,  Etterlein,  71, 
Lenz,  7a,  Teetgen,  72. 

Before  the  soldan.  ^f?^  Ruskin,  Morn- 
ings in  Florence,  34. 

Behan,  B.  See  Scott,  The  little  mas- 
ters, 35. 

Behan.  H.  S.  See  Scott,  The  little 
masters,  35. 


Belcher,  J.  See  Transactions  of  the 
National  Association  for  the  Ad- 
vancement of  Art,  53. 

Belgium,  revival  of  sculpture  in,  Des- 
tr^e,  21;  old  masters  of,  Fromen- 
tin,  22;  painting  in,  see  Lafenestre 
and  Richtenberger,  Painting  in 
Europe,  27. 

Bell,  Mrs.  Arth.,  17. 

Bell,  5/rChas.,  17. 

Bell,  Clara,  trans.  See  Chesneau, 
L'education  de  I'artiste,  3;  Wolt- 
mann  rt/:^^  Woerman,  Paintings  of 
the  Renascence,  37;  Spitta,  Johann 
Sebastian  Bach,  66. 

Bell,  Malcolm,  17. 

Bellermann,  F.,  60;  j^^  a/jt?  Prefatory 
note,  64. 

Benedict,  Sir  J.,  63. 

Benedite,  L.,  17. 

Benjamin,  S.  G.  W.,  17. 

Bennett,  J.,  ed.     See  Berlioz,  69. 

Benoit,  C.,  67. 

Benson,  W.  A.  S.,  48.  See  aiso  Tran- 
sactions of  the  National  Association 
for  the  Advancement  of  Art,  53. 

BeraJdi,  H.,  17. 

Berenson,  B.,  17. 

Berlioz,  Hecior,  63,  69;  Apthorp,  63. 

Bertrand,  A.,  17. 

Beyle,  H.    See  Stendhal,  12. 

Bible,  music  of  the,  Hutchinson,  57; 
Stainer,  61.  See  aiso  Hebrew  mu- 
sic. 

Bignami.  .SV^  Jaccaci,  Italian  posters, 

Billings,  R.  W.,  39. 

Binck.  See  Scott,  The  little  masters, 
35. 

Bmders,  characteristic  school  of, 
Fletcher,  49-50.  See  aiso  Book- 
binding. 

Binding.     See  Bookbinding. 

Biographies,  of  artists,  Blanc,  3,  Cle- 
ment and  Button,  14,  Sweetser,  36; 
of   paintersj  sculptors,  and    archi- 

-  tects.  Vasari,i3;of  painters,  James, 
14;  AUgemeines  Kunster-Lexikon, 
Seubert,  15;  Biographisches  Kunst- 
ler-Lexikon  der  Gegenwart,  Miiller, 
15;  of  engravers,  Beraldi,  i7;of  con- 
temporaneous Eng.  artists,  Ches- 
neau, 18;  of  early  Flemish  painters, 
Crowe  a  nd  Cavalcaselle,  20;  of 
early  Italian  painters,  Jameson,  26. 
See  also  names  of  subjects,  as  ar- 
tists, architects;  rt/^(7  names  of  indi- 
viduals and  names  of  countries  and 
periods,  as  Renaissance. 

Biographies,  of  musicians.  See  Biog- 
raphy (department),  63-67. 

Birch,  S.,  48. 

Birdwood,  Sir  G.  C.  M.,  49, 

Bischoff,  H.,  ed.     See  KuUak,  70. 

Bitter,  C.  H.,  56. 

Black,  C.  C,  trans.  Sec  Demrain, 
Die  Kriegswaffen  in  ihrer  Historjs- 
chen  Entwickelung  von  den  Altes- 
ten  Zeiten  bis  auf  die  Gegenwart, 
49. 

Black  and  white  work.  See  Harper, 
English  pen  artists  of  to-day,  24; 
Layard,  Life  and  letters  of  Keene, 
27;  Morin,  French  illustrators,  30; 
Pennell,  Pen-drawing  and  pen 
draughtsmen,  3i;Spielman,  History 
of  Fundi,  35.  See  aiso  Book  illus- 
tration; Illustrators. 

Blackburn,  H.,  17. 

Blake,  William,  Gilchrist,  23. 

Blanc,  Chas.,  3,  49. 

Blashfield,  E.  H.,  17;  ed.,  see  Va- 
sari.  Lives  of  painters,  13;  Modern 
French  masters,  29. 

Blashfield.  E.  W.,  ed.  See  Vasari, 
Lives  of  painters,  13. 

Blitheman.  See  Rimbault,  Piano- 
forte, 59. 

Blomfield,  R.,  attd  Inigo,  T.,  39. 

Boas,  F.,  61. 

Boethius  and  the  harmonic  system  of 
the  Greek  school,  Paul,  60. 

Biihme,  F.,  61.  See  aiso  Erk,  L.,  and 
Biihrne,  62. 

Boissier,  G.,  3. 

Boito,  A.  Sec  Streatfeild,  Masters  of 
Italian  music,  66. 

Boito,  C,  39. 

Bologne,  Jean,  Desjardins,  21. 


Bombct,  L.  A.  C,  63. 
Bonnard,  C,  40. 
Bonnat,  Lt-nn,  Blashfield,  17. 
Bookbinding,  in  England  and  France, 
Fletcher,  49-50  ;  sketch  of,  Sander- 
son, see  MorriSj  Arts  and  crafts  es- 
says,  51-52 ;    historical    sketch    of, 
Prideaux,  52;  historical  and  practi- 
cal, Growoll,  j-<'^  Prideaux,  52. 

Book-covers,  French,  Alexandre,  15; 
for  music,  Jaccaci,  25. 

Book  illustration,  Japanese,  see  Jar- 
ves.  Glimpse  at  the  art  of  Japan, 
7;  manual  of,  Pennell,  31;  Italian, 
of  the  XV,  century.  Pollard,  31 ; 
American,  see  Smith,  American  i'- 
lustrators,  35;  modern  methods  of. 
Wood,  37;  curious  borders  in,  scj 
De  Forest,  Indian  domestic  archi- 
tecture, 39-40.  See  aiso  Black  and 
white  work;  Illustration;  Illustra- 
tors. 

Book-shelves,  making  of.  Sec  Ben- 
son, Elements  of  handicraft  and  de- 
sign, 48. 

Borghese  Gallery.  See  Moretii,  Ital- 
ian painters,  30. 

Boston  Museum  of  Fine  Arts,  cata- 
logue of  Greek,  Etruscan,  and  Ro- 
man vases  in,  Robinson,  52. 

Boston  Public  Library,  mural  paint- 
ings in,  Fenollosa,  22. 

Boucher,  Fran9ois,  Mantz,  28. 

Bouchot,  H.,  17. 

Bouillier,  A.,  3. 

Boutell,  C.,  49. 

Boutet  de  Monvel,  Low,  28. 

Bracquemond,  17. 

Brahms,  Johannes,  Deiters,  6j\\seeaiso 
Fuller-Maitland,  Masters  of  Ger- 
man music,  64. 

Brasses,  monumental,  Macklin,  28. 

Brendel,  F.,  55. 

Brescia,  history  of  painting  in,  from 
XIV.  to  XVI.  century,  Crowe  and 
Cavalcaselle,  20. 

Brick  and  marble  in  the  Middle  Ages, 
Street,  46 ;  in  Roman  buildings, 
see  Smith  and  Slater,  Architecture, 
classical  and  early  Christian,  46. 

British  Columbia,  Indians  of,  Boas, 
61. 

British  Museum,  the  Fillet-tier  in, 
see  CoUignon,  Histoire  de  la  sculpt- 
ure GrecquCj  19 ;  Italian  prints  m, 
Fisher,  22  ;  Greek  and  Roman  an- 
tiquities in,  jtv  Murray,  History  of 
Greek  sculpture,  30. 

British  music,  from  the  earliest  times 
to  the  Tudor  periodj  Crowest,  57. 
See  aiso  English  music. 

Brittany,  popular  songs  of.  See  Ville- 
marque,  Barzaz-Breiz,  63. 

Broadhouse,  J.  A  ,  69  ;  see  aiso  Teet- 
gen, 72  ;  trans.,  see  Thibaut,  72. 

Broekhoven,  J.  \  ,  69. 

Bronzes,  Japanese,  see  Gonse,  L'Art 
Japonais,  6;  Greek,  Murray,  10; 
Chinese,  see  Paltfologue,  L'art  chi- 
nois,  10;  Gallo-Roman,  jiV  Reinach, 
National  antiquities,  11;  Catalogue 
of  European,  in  South  Kensington 
Museum,  Fortnum,  22. 

Brooks,  H.  M.,  56. 

Brosamer.  See  Scott,  The  little  mas- 
ters, 35. 

Brown,  A.  F.  See  Isham,  N.  M.,  and 
Brown,  42. 

Brown,  Mrs.  J.  C,  collection  of.  See 
Brown,  Mary  E.,  and  Brown,  W. 
A.,  61. 

Brown,  Mary  E.,  and  Brown,  W.  A.. 
61. 

Brownell,  W.  C,  3. 

Bruch.  See  Fuller-Maitland,  Masters 
of  German  music,  64. 

Briicke,  Ernst,  18. 

Bruckner.  See  Fuller-Maitland,  Mas- 
ters of  German  music,  64. 

Bruneau.  See  Hervey,  Masters  of 
French  music,  64. 

Brunn,  H.,  3. 

Bryan,  M.,  14. 

Bucknall,  B.,  trafis.  See  Viollet-le- 
Duc,  47. 

Building  and  loan  associations,  Linn, 
4'  .       , 

Building,  Papworth,  44 ;  rational. 
Huss,  42. 


Iiiiifx. 


77 


Bull.     >>ef  Rimbault,  Pianoforte,  sg. 

Runner.  H.  C,  18. 

Burckhardt,  J  ,  18 

Burlmcam^,  E.  L.,  trans.  See  Wag- 
ner, Art  life  and  theories,  68. 

Burlington  Fine  Arts  Club,  catalogue 
of.  See  Haden,  Etched  work  of 
Rembrandt,  24. 

Burn,  R.,  3 

Burne-Jones,  Sir  E.  Bell,  17;  see  also 
Chesneau.  Artistes  Anglais  contein- 
porains,^i8. 

njrney,  C,  5S.  56-57- 

Bjrty,  P.,  49- 

Bussler,  Ludwig,  69;  see  also  Cor- 
nell, 6i). 

Butler,  A   J.,  39. 

Butler,  Lady.  See  Bacon,  Parisian 
art  and  artists,  16. 

Buxton,  H.  J.  W,,  31;  aWPoynter,  31. 

Byrd.     See  Rimbrfult,  Pianoforte,  59. 

Byzantine  architecture,  Texier  ami 
Pullen,  46,  see  also  SalzenDerg,  Alt- 
Chnstliche  Baudenkmale  v.  Con- 
stantinopel.  45,  Smith  and  Slater, 
Architecture,  classical  and  early 
Christian,  46;  considered  as  a  natural 
development  of  the  clas5ica]  Roman, 
see  Essenwem,  Die  Fortsetzung  der 
classischen  Baukunstimostriimisch- 
en  Reiche,  40;  Church  of  St  Sophia 
an  example  of,  see  Lethaby  and 
Swainson,  42.  See  also  Oriental  ar- 
chitecture. 

Byzantine  art,  Bayet,  3,  16;  in  South- 
ern Italy,  Diehl,  4;  survival  of,  in 
Russia,  see  Viollet-le-Duc,  L'art 
Russe,  14;  use  of  mosaic  in,  see  Ger- 
spach.  La  mosaique,  41.  See  also 
Oriental  art. 

Caccini.  See  Kiesewetter,  Schicksale 
und  Beschaffenheit  des  Weltlichen 
Gesanges,  58. 

Cairo,  Voo\e,ii\  see  also  Franz-Pascha, 
Die  Baukunst  des  Islams,  41. 

Caldecolt,  R.,  Blackburn,  17. 

Callot,  Jacques,  Vachon,  36. 

■Cameos.     See  Gem  engraving. 

Canada,  Chansonspopulairesde,  Gag- 
non,  62. 

Cantatas,  standard,  Upton,  72. 

Canterbury  Cathedral,  architectural 
history  of,  Willis,  47- 

Capella  style,  of  Palestrina.  See  Am- 
bros,  Geschichte  der  Musik,  55. 

Caran  d'Ache.  See  Monn,  French 
illustrators,  30, 

Carcassonne,  buildings  of  the  Roman 
time  and  Middle  Ages  in,  see  Mac- 
gibbon,  Architecture  of  Provence 
and  the  Riviera,  43. 

Caria,  history  of  ancient  art  in,  Per- 
rot  and  Chipiez,  11. 

Caricaturists,  Gavarni,  Forgues,  22; 
Caran  d'Ache,  see  Morin,  French 
illustrators,  30;  Doyle,  .yt^^r  Spielman 
History  of  Punchy  35. 

Carlisle  Cathedral,  history  and  de- 
scription of,  see  Billings,  Architect- 
ural illustrations,  ^9. 

Carolus-Duran,  Beckwith.  16. 

Carpaccio,  Molmenti,  ig;  see  also  ^ms- 
kin,  St.  Mark's  Rest,  34. 

Carpani,  G.  See  Bombet,  Life  ol 
Haydn,  63. 

Carpeaux,  J.  B.,  Chesneau,  18. 

Carpenter  work.  See  Benson,  Ele- 
ments of  handicraft  and  design,  48. 

Carn^s,  J  ,  Ale.xandre,  16,  48- 

Cartwright,  J.  {Mrs,  Ady),  18. 

•Carvings,  Japanese.  See  Gon-s^.  L'art 
Japonais,  6. 

Castle  St.  Angelo  and  the  evil  eye, 
Story.  13. 

Castles,  of  the  Middl?  Ages,  see  Es- 
senwein.  Die  Romanische  und  die 
Gothische  Baukunst :  die  Kriegs- 
baukunst,  40;  of  Scotland,  Macgib- 
bon  and  Ross,  43. 

Casts,  plaster,  makers  of,  see  Mar- 
quand  and  Frothingham,  History 
of  sculpture,  28;  list  of,  Upcott,  In- 
troduction to  Greek  sculpture,  36; 
catalogue  of ,  Waldstein,  37. 

Catacombs,  mosaics  in  the.i-ev  Muntz, 
La  mosatque  Chr^tienne  pendant 
les  premiers  sifecles,  44. 

Catalogues,  of  bronzes  in  South  Ken- 


sington Museum,  Fortnum,  qt.  of 
etchers  and  painter-engravers.  Ha- 
den, 24;  of  the  Louvre,  Lafcnestre 
««(/ Richtenberger,  27;  of  gems  In 
the  Fitzwilliani  Museum,  Middle- 
ton,  29;  of  the  Avery  Architectural 
Library,  i8;of  pottery  in  South  Ken- 
sington Museum,  Fortnum,  so;  "^ 
loan  collection  of  plate  in  E'~"itz\vin- 
iam  Museum.  Foster  awt/ Atkinson, 
50;  of  vases  in  Museum  of  Fine 
Arts,  Boston,  Robinson,  52;  of  tex- 
tile fabrics  m  South  Kensington 
Museum,  Rock,  52. 

Catalogues,  second-hand,  of  music, 
74- 

Cathedrals.  See  Viollet-Ie-Duc,  His- 
toire  d'un  Hntel  de  Ville,  47;  Can- 
terbury Cathedral,  Willis,  47;  Car- 
lisle Cathedral,  see  BillingSj  Archi- 
tectural illustrations,  39;  Chartres 
Cathedral,  see  Lewis  and  Street, 
Architecture,  42;  Durham  Cathe- 
dral, Billings,  39;  Gloucester  Cathe- 
dral, j-tv  Gambler.  Ministry  of  line 
art,  5;  Pisa  Cathedral,  see  Desjar- 
dins.  La  vie  et  I'reuvres  de  Jean 
Bologne,  21  ;  St.  Paul's  Cathedral, 
Longman,  43.  see  also  Armstrong, 
Alfred  Stevens,  16.  See  also  Q\\\i.Xi:h- 
es ;  Sacred  buildings. 

Cattaneo,  R.,  39. 

Cattaro.  ^tv  Freeman.  Sketches  from 
the  subject  and  neighborlands  ot 
Venice,  41. 

Caulfeild,  S.  F.  A.,rt«(/Saward,  B.  C, 
49. 

Cavalcaselle,  G.  B.  See  Crowe,  ^;V 
J.  A.,  rt«rt' Cavalcaselle,  20. 

Cavallucci,  C.  J.,  18. 

Cellerj  L..  57. 

Cellini,  Benvenuto,  3. 

Cemeteries,  Christian  and  Pagan  See 
Lanciani,  Pagan  and  Christian 
Rome,  8. 

Century  Gallery,  18. 

Century  Magazine.  See  La  Farge, 
Artist's  letter  from  Japan,  7. 

Ceramics,  Chinese,  Paleologue,  10,  Du 
Sartel,  49,  Grandidier,  50;  history 
of^  Jaennicke.  Grundris=:  der  Kera- 
mik  in  Bezug  aut  das  Kunstgewer- 
be,  50-51;  dictionary  of,  Garnier, 
50;  ancient  Greek,  see  Lau,  Die 
Griechischen  Vasen,  51,  Rayet  and 
Collignon,  Histoirede  la  ceramique 
Grecque,  52.  See  also  Porcelain  : 
Pottery. 

Chabrier.  See  Hervey,  Masters  of 
French  music,  64. 

Chaldaa,  antiquities  of,  Babelon,  2; 
dawn  )f  civilization  in,  Maspero, 
9;  see  also  Perrot  and  Chipiez,  His- 
tory of  ancient  art  m  Egypt,  n. 

Chambonnieres.  See  Rimbault,  Pi- 
anoforte, 59. 

Champlin,  J.  D.,  jr.,  and  Apthorp, 
W.  F..  73. 

Chantilly,  Chateau  de,  collection  of 
paintings  at,  Gruyer,  2^3. 

Chants,  Gregorian,  Reissmann,  56; 
Gregorian,  Ambrosian,  Muzarabic 
and  Galilean,  Paleographie  Musi- 
cale,  58 ;  liturgic,  of  th  Latin 
Church,  Gevaert,  60;  Mediaeval 
church,  sff  Schubiger,  Die  Sanger- 
schule  St.  Gallens,  61 

Chapel  Royal  (The).  See  Curwcn, 
Studies  in  worship  music,  2d  ser., 
70-71. 

Chapin,  W.  O,,  18. 

Chappell,  W  ,  61. 

Chapu,  Fidi^re,  22. 

Charles  v.,  cloister  life  of.  See  Stir- 
ling-Maxwell, Annals  of  artists  of 
Spain,  12-13. 

Charles  Vlil.,  La  Renaissance  en 
Italie  et  en  France  i  I'enoque  de, 
Muntz,  9;  see  also  De  Laoorde,  La 
Renaissance  des  arts  &  la  cour  de 
France,  4. 

Chartres  Cathedral,  See  Lewis  ami 
Street,  Architecture,  42. 

Chateau.  L.,  39. 

Chavannes,  Puvis  de.  See  Fenotlosa, 
Mural  painting  m  Boston  Public 
Library,  22. 

Chefs-d'oeuvres,of  Corot,  petit  album 
classique,  20;  de  l'art  au  xix.  ^H:cle, 


IVcolc  fran^aiscde  Delacroix  ik  Rcf;^- 
nautt,  De  Lostalot,  31;  de  l'art  au 
XIX.  si^clc,  la  peinture  ('trang^rr, 
De  Wyzcwa,  22  ;  de  1  art  au  xix. 
sitcle,  la  sculpture  cl  la  gravure, 
Gonsc,  23  ;  dc  l'art  au  xix.  siMc, 
la  peinture  Fran<;aise  acluelle^  Lc- 


fort,  27;  au  XIX.  sl^cle,  I't'cole  hran- 

<;aisedc  In 

28. 


Ingres^  Delacroix, Michel, 


Clierubini,  Crowcst,  64. 

Chesneau,  E.,  1,  18. 

Chiaroscuro,  Sturgis.  36. 

Chicago  Fair,  See  World's  Columbi- 
an Exposition,  Chicago. 

Child,  Theodore,  18. 

Chinese  art.  Paleologue,  10;  porcelain 
and  pottery,  Du  Sartel,  49,  Grandi- 
dier. 50.     See  also  Indo-Chinese  art. 

Chinese  music,  V^ui  Aalst,  6^;  see  also 
Reissmann.  Allgemeine  Geschichte 
der  Musik,  56.  Amiot,  MiJmoire  sur 
la  musique  des  Chinois,  61. 

Chipiez.  C.  .SV**  Petrol,  G.,  and 
chipiez,  C,  lo-ii. 

Chirtani,  L.     .SVt*  Selvatico,  P..  12. 

Chopin,  F  ,  Karasowski.  65.  Liszl, 
65,  ^JIecks,  65,  Finck,  71,  Klcc- 
zynski,  72. 

Choral  music,  notes  on  the  cultiva- 
tion of,  Krehbiel,  58;  see  also  Reiss- 
mann, Allgemeine  Geschichte  der 
Musik,  56  ;  also  Chants,  Church 
music,  Worship  music. 

Chorley,  H.  F.,  70. 

Christ  in  art,  Farrar,  22,  Jameson,  26. 

Christian  architecture,  early,  Smith 
and  Slater,  46. 

Christian  art,  Rio,  33;  history  of, 
Lindsay.  27,  see  also  Gambler, 
Ministry  of  tine  art,  5;  simple  stud- 
ies of,  Ruskin,  34;  early,  Woltmann 
and  Woermann,  37;  mosaic  work 
in.  see  Miintz,  La  mosaique  chre- 
tienne  pendant  ks  premiers  sit-cles, 
44,  See  also  Religious  art,  Sacred 
art. 

Christian  ecclesiology.  See  Butler, 
Ancient  Coptic  churches  of  Egypt, 

39' 
Christian  symbols,  and  stones  of  the 
saints  as  illustrated  in  art,  Clement, 

19 

Christiania.  See  Atkinson,  Art  tour 
to  northern  capitals  of  Europe,  2, 

Chrysander,  F..  64. 

Church  bells.  See  Jewitt.  Half  hours 
among  some  English  antiquitieSj  7. 

Church  music,  Geschichte  der  Geist- 
lichen  Dichtung  u.  Kirchlichen 
Tonkunst,  Schletterer.  59:  Origin 
of  the  liturgic  chant,  Gevaert,  60; 
Antiphonaire  de  Saint  Gregoire, 
Lambillotte.  60.  .SVt-  also  Chants, 
Choral  music.  Worship  music. 

Church  vestments,  in  South  Kensing- 
ton Museum,  Rock,  52. 

Churches,  Christian,  see  Lanciani, 
Pagan  and  Christian  Rome,  8; 
ancient  Coptic,  Butler,  39;  London 
city.  Darnell,  39;  f<»riihed,  of  the 
Middle  Ages,  see  Essenwem,  Die 
Romanische  u.  die  Gothische  bau- 
kunst: die  Kricgsbaukunst.  40. 

Cicerone  (The),  Burckhardt,  18. 

Cities,  ancient,  and  their  buildings, 
see  rreeman.  Historical  and  arcni- 
teclural  sketches,  41;  architecture 
in  relation  to,  see  Statham,  Archi- 
tecture for  general  readers,  46. 

City  house  (The),  in  the  West,  Root, 
45;  in  the  East  and  South,  Sturgis, 
46. 

City  parks.  See  Parsons,  Landscape 
gardening,  44. 

Citv-walls,  01  the  Middle  Ages,  see 
Essenwem,  Die  Romanische  u. 
Gothische  Baukunst.  die  Kriegs- 
baukunst,  40;  and  gates  of  Tuscan 
mediae\'al  cities,  see  Rohault  de 
Fleury,  La  Toscane  au  moyen  age, 

Clarac,  C.  de,  19. 

Clark,   W..  and  Hutchinson.   J.  T.. 

trans.     See  Gonr.od,  Mozart's  Don 

Giovanni,  64. 
Clarke,  J.  T.,  trans. ^  44. 
Clarke   Mary  C, /r-aiw.     ,?«  Berlioz, 

69. 


78 


Iiulcx. 


Classic  and  romantic  schools,  con- 
test between.  See  Michel,  Les 
chefs-d'ceuvrede  I'art  au  xix.  si^cle, 

Classical  antiquities,  atlas  of,  Schrie- 
ber,  12;  Harper's  dictionary  of,  14; 
dictionary  of,  Seyffert,  15;  art  of 
mosaic  in,  see  Gerspach,  La  mo- 
sa'que,  41.  See  also  Gailhabaud^ 
Monuments  anciens  et  modernes, 
..m;  also  Archaeology. 

Classical  architecture,  revival  of  in 
England,  see  Loftie,  Inigo  Jones, 
and  Wren,  43;  Darnell,  London 
city  churches,  39;  carrying  on  of.  in 
Eastern  empire,  see  Essenwein,  Die 
Fortsetzung  der  Classischen  Bau- 
kunst  im  ostnimischen  Reiche,  40; 
and  early  Christian,  Smith  and 
Slater,  46. 

Classical  sentiment,  survival  of  See 
Hamerton,  Present  state  of  the  fine 
art  of  France,  7. 

Claude  Lorrain,  Grahame,  23,  Mich- 
el, 28,  Pattison,  30,  Sweetser,  Arlist 
biographies,  36 ;  see  also  Gilbert, 
Landscape  in  art,  2^. 

Clavichord.  See  Rimbault,  Piano- 
forte, 59. 

Clement,  Chas.,  19. 

Clement,  Clara  E.,  14,  19. 

Clement,  F.,  and  Larousse,  P.,  73. 

Clodion,  Les  Adam  et,  Thirion,  36. 

Coffin,  W.  A.,  3,  19;  see  also  Modern 
French  masters,  29. 

Cohen,  G.,  trans.     See  Hanslick,  6g. 

Coins,  Greek,  Gardner,  23;  collector's 
manual,  Humphreys,  25;  see  also 
Lecoy  de  la  Marche,  Les  sceaux,  27; 
Lenonnant,  Monnaies  et  medaiUes, 
27;  Saunier,  Augustin  Dupre,  34. 

Cole,  A.  S  ,  trans.     See  Lefebure,  51. 

Cole,  Timothy,  19. 

Coleridge,  A.  D.,/ra«j.  See  Kreissle, 
65. 

Collignon,  M.,  4,  19;  see  also  Rayet, 
O.,  and  Collignon,  52. 

Colonial  furniture,  Lyon,  51. 

Colonna,  Vittoria,  Harford,  7. 

Color,  Bracquemond,  17,  see  also 
Gambier,  Ministry  of  fine  art,  5; 
Japanese,  see  Anderson,  Japanese 
wood-engravings,  16. 

Columbia  University.  Avery  Archi- 
tectural Library  of,  38-39 ;  music 
collection,  see  Musici  Scriptores 
Grasci,  60. 

Colvin,  S.,  4;  ed..  see  Woltmann  and 
Woermann,  History  of  painting,  37. 

Composers,  famous,  and  their  works, 
Paine,  65;  see  also  Hanslick,  Con- 
certe,  Componiste  u.  Virtuosen,  71. 

Concerts,  Hans'ick,  Geschichte  ties 
Concertwesens  in  Wien,  57,  Aus 
demConcertsaa),  71,  Concerte.  Com- 
poniste u.  Virtuosen,  71  ;  Kretzch- 
mar,  Fiihrer  durchden  Concertsaal, 
72. 

Constantinople,  Grosvenor,  6;  Church 
of  Sancta  Sophia  m,  Lethaby^wf?' 
Swamson,  42;  Alt-Chnstliche  Bau- 
denkmale  v.,  Salzenberg,  45. 

Consular  diptychs  of  the  iv.  and  v. 
centuries.  See  Maskell.  Descrip- 
tion of  ivories  in  South  Kensington 
Museum,  51. 

Conversation  on  music,  Rubinstein, 
66. 

Conversations  in  a  studio.  Story,  13 

Conway  Katherine  E.  See  Clement, 
19. 

Conway,  Sir  W.  M.,  4,  ig. 
Cook,  E.  T  .4,  19. 

Cook,  Martha  W\,  trans,  Se"  Liszt, 
65- 

Copenhagen.  See  Atkinson,  Art  tour 
to  northern  capitals  of  Europe,  2. 

Coptic  churches  of  Egypt,  Butler,  39. 

Corder,  F.,  60. 

Cordova,  architecture  of.     .S"^^  Franz- 

Pascha,  Die  Baukunst  des  Islam,  41. 

Corfu.     See  Freeman,  Sketches  from 

the  subject  and  neighborlands  of 

Venice,  41, 

Cornelius,  P.    See  Pfohl,  Die  moderne 

Oper,  72. 
Cornell,  J.  H.,  6g;  trans. ^  see  Lang- 
hans,   56,    Benoit,   67,    Heintz,   67, 
WolzQgen,  68. 


Corot,  20,  Thomson,  -i^t;  see  also  Blanc, 
Artistes  de  mon  temps,  3. 

Correggio,  Ricci,  32-33. 

Corroyer,  E.,  39. 

Costume  of  ancient  Egyptians,  see 
Erman,  Life  in  ancient  Egypt,  5; 
early  Venetian,  see  Mulmenti,  La 
vie  priv^e  A  Venise,  9;  value  of 
seals  for,  Lecoy  de  la  Marche,  Les 
sceaux,  27;  on  the  engraved  plates 
of  mediaeval  tombs,  see  Macklin, 
Monumental  brasses,  28;  of  the 
Renaissance,  see  Molmenti,Carpac- 
cio,  29;  historical,  Bonnard,  49, 
Racinet,  52;  mediaeval,  Demay, 
4g;  ancient  Greek,  Evans,  49;  an 
cient  and  modern,  Hottenroth,  50; 
French,  Renan,  52;  see  also  Viollet- 
le-Duc,  Dictionnaire  raisonn^  du 
mobilier  Fran^ais,  53 ;  collection 
illustrating,  in  South  Kensington 
Museum,  Ruck,  52;  modern,  see 
Steele  rtHt/ Adams,  Beauty  of  form 
and  grace  of  vesture,  53. 

Counterpoint,  fugue,  and  double 
counterpoint,  Haupt,  69,  Prout.  70. 

Country  house  (The),  Mitchell,  43- 

Country  of  Horace  and  Virgil  (The), 
Boissier,  3. 

Country  places,  small.  Parsons,  44; 
beautifying  of,  see  Van  Rensselaer, 
Art  out  of  doors,  47. 

Coupenn.    See  Rimbault,  Pianoforte, 

59- 

Courajod,  L.,  20. 

Coussemaker,  E.  de,  60. 

Couture,  T  ,  20;  see  also  De  Lostalot, 
Chef  d'oeuvres  de  I'art  au  xix. 
siecle,  21. 

Co  wen.  .SVt'Wilieby,  Masters  of  Eng- 
lish music,  67. 

Cox,  Kenyon,  20;  see  also  Modern 
French  masters,  29,  Smith,  Ameri- 
can illustrators,  35. 

Cramer,  piano  methods  of.  See  Kul- 
lak, 70 

Crane,  Walter.  See  Morris,  Arts  and 
crafts  essays,  51-52. 

Cranz.     See  Beethoven,  63. 

Crocker,  Annette  E.,  trans.  See 
Goun<id,  64. 

Crotchets  and  quavers,  Maretzek,  58. 

Crowe,  Sir  Jos.  A.,  20;  and  Caval- 
caselle,  20. 

Crowest,  F   J.,  57,  64. 

Crowninshield,  F  ,  20. 

Cummings,  W.  H.,  64. 

Cundall,  Jos  ,  21. 

Curtis-Cholmeley,  Countess  Isabel, 
trans.  See  Cattaneo,  L'architet- 
tura  in  Italia,  39, 

Curwen,  J.  S.,  70-71. 

Cust,  L.,  21. 

Cyclopaedias.  .SV^  Johnson's  univer- 
sal cyclopaedia,  Encylopaedia  Bri- 
tannica. 

Cyprus,  ancient,  see  Gardner,  New 
chapters  in  Greek  history,  5;  his- 
tory of,  see  Perrot  and  Chipiez, 
Histoire  de  I'art  dans  t'antiquit^,  n. 

Czerny,  piano  methods  of.  See  Kul- 
lak,  70. 

Dagnan-Bouveret,  Coffin,  19. 

Dalmatia,  the  Quarnero  and  Istria, 
Jackson,  42. 

Damascus,  architecture  of  See 
Franz-Pascha,  Die  Baukunst  des 
Islam,  41 

Damascus  ware,  Fortnum,  50. 

Dance  (The),  history  of  in  Germany, 
Boehme,  Geschichte  des  Tanzes  in 
Deutschland,  51  ;  in  the  xvi.  cen- 
tury, see  Celler,  Les  origmes  de 
I'op^ra  et  le  ballet  de  la  reine,  57. 

Darnell,  A,  E.,  39. 

Dargenty,  G  ,  21. 

Darwin.  C.  R.,  21. 

DaviUier,  Baron  Q..,i\. 

Davis,  Miss  L.  J  ..trans.  See  Miintz, 
La  tapisserie,  52. 

Dawn  of  art  in  the  ancient  world, 
Conway,  4. 

Dawn  of  civilization,  Maspero,  9. 

Day,  C.  R.,  61-62. 

Decamps,  (Jlement,  19. 

Deccan  (The),  music  and  musical  in- 
struments of.  Day,  61-62. 

De  Champeaux,  Allr.,  zi,  49. 


Deck,  T.,  49 

Decoration,  Gothic,  Gonse,  6;  appli- 
cation of  art  to,  Ruskln,  12;  mural, 
Galland,  25. 

Decorative  arts,  minor  (department), 
48-54- 

Decorative  arts,  Blanc,  Grammaire 
des  arts  du  dessin,  3;  minor,  see 
Gonse,  Gothic  art,  6;  treatise  on, 
Bracquemond,  Du  dessin  et  de  la 
couleur,  17;  history  of,  De  Cham- 
peaux, 21;  in  England,  see  Destrec, 
Pre-Raphaelites.  22  j  evolution  ol, 
Balfour,  47;  Decorazionee  industrie 
artistiche,  Melani,  51;  Egyptian,  Pe- 
trie,  52;  dictionary  of,  Rouaix,  53- 
53;  monograph  on,  Sturgis,  53.  See 
also  Mural  painting. 

De  Forest,  J.  B.,  4. 

De  Forest,  L.,  39. 

Degas.  See  Lecomte,  L'art  impres- 
sioniste,  27;  also  Moore,  impressions 
and  opinions,  29. 

De  Goiicourl,  E.  and  J.,  4. 

Deiters,  H.,  64. 

De  Kontski,  piano  methods  of.  ^^-t- 
Kullak,  70. 

De  Laborde,  Alex  ,  4. 

Delaborde,  Henri,  4,  21. 

Delacroix,  Eugt-ne,  Veron,  36;  see 
also  Blanc.  Artistes  de  mon  temps, 
3;  De  Lostalot,  chef  d'ceuvres  de 
Part  au  xix.  si^cle,  21. 

Delano,  Aline,  tratis.  See  Rubinstein^ 
66. 

Delaroche,  Paul,  Rees,  32. 

Delineation.     See  Drawing. 

De  Lostalot,  Alfr.,21. 

Demay,  J.  G.,  49. 

Demmin,  A.,  49. 

De  NeuviUe.  See  Hacon,  Parisian 
art  and  artists,  16. 

Denmark,  industrial  arts  of,  Wor- 
saae,  53. 

Dennie,  J.,  4. 

Dennis,  G.,  4. 

De  Pontes,  L.  D.,  21. 

De  Pouvourville,  A.,  4, 

Design,  and  color,  Bracquemond,  177 
of  mosaic,  see  Gerspach,  La  mo- 
sa  que,  41;  elements  of  handicraft 
and,  Benson,  48;  application  of 
plant  forms  to,  j-ff  Lilley  rt/z^/Midg- 
ley.  Studies  in  plant  form,  51. 

Designing,  principles  of,  see  Moore, 
Examples  for  elementary  practice 
in  delineation,  29;  decorative,  Crane, 
see  Morns,  Arts  and  crafts  essays,, 
51-52- 

Desjardins,  A.,  21. 

Destrt^e,  O.  G.,  21-22. 

Detaille,  E.  See  Bacon,  Parisian  art 
and  artists,  16;  Morin,  French  illus- 
trators, 30. 

De  Wyzewa,  T.,  22. 

Dialogo  della  musica  antica  e  della 
moderne,  Galilei,  57. 

Diaz.  .SVf  De  Lostalot,  Chef  d'ceuvres 
de  Tart  au  xix.  siecle,  21. 

Dickinson,  E  ,  55. 

Dictionaries  of  art  (department),  14- 

15 

Dictionaries  and  encyclopaedias  of 
music  (department),  73. 

Dictionaries,  Century,  2,  Internation- 
al Webster,  2,  New  English,  2,  14- 
15,  Adeline,  14,  Bryan,  14,  Harper, 
14,  Sevffert,  15.  Smith,  Wayte,  and 
Manndin,  15,  Viollet-le-Duc,  47,  53, 
Rouaix,  52-53, 

Didron,  A.  N.,  22 

Diehl,  C..4-5. 

Dies.     See  Intaglio. 

Dilke,  Lady,  5;   see  also  Pattison,  10. 

Dionysms,  hymns  of,  Bellermann, 
63;  see  also  Galilei,  Dialogo  della 
musica  antica  e  della  moderne,  57, 
Williams,  Music  of  the  ancient 
Greeks,  61. 

Dippold,  G.  T.,  67- 

Diptychs,  consular,  of  iv.  and  v, 
centuries.  See  Maskell,  Descrip- 
tion of  ivories  in  South  Kensington 
Museum,  51. 

Dobson,  A.,  22. 

Dohme,  R.,5. 

Dole.N.  H.^treitts.   5^e  Wolzogen,68. 

Domestic  architecture,  see  Homes  in 
city  and  country,  25;  Essenwein,  Die 


Index. 


79 


RomaniiChe  u.  die  Gothische  Bau- 
kunst:  der  Wohnbau,  40;  Kerr,  The 
jrentleman's  house,  42;  in  Scotland, 
Macgibbon  and  Ross,  43;  old  col- 
lage and,  Neville,  44;  in  England, 
Parker,  44,  Parker  and  Turner,  44, 
Turner,  46;  in  the  West,  Root,  43; 
in  the  East  and  South,  Sturgis,  46. 

Donatello,  Miintz,  30. 

Donizetti.     See  Edwards,  Rossini,  64. 

D'Ooge,  M.  L.,  5. 

Dona-Pamfilia  Galleries.  See  Morelli, 
Italian  painters,  30. 

Double  counterpoint,  theory  of  coun- 
terpoint, fugue  and,  Haupt,  6g;  and 
canon,  Prout,  70. 

Doyle,  R.  See  Spielman,  History  of 
J'unck,  35. 

Draeseke.  See  FuUer-Maitland,  Mas- 
ters of  German  music,  64. 

Drama,  the  musical,  Schure,  68. 

Dramatic  composition,  first  attempts 
at.  See  Reissmann,  AllgemeineGe- 
schichte  der  Musik,  56. 

Drapery.  See  Evans,  Chapters  on 
Greek  dress,  49. 

Drawmg,  Hamerton,  24,  Sturgis,  ^5; 
figure-,  Hatton,  24;  examples  for 
elementary  practice  in,  Moore,  29; 
elements  of,  Ruskin  33;  Learning 
to  draw,  Vi ollet-le-Duc,  35-37. 

Drawings,  of  Diirer,  Ephrussi,  22, 
Scott,  34-35;  of  Blake,  Gilchrist,  23; 
of  Turner,  see  Ruskin,  Harbours  of 
England,  33;  of  Ruskin,  see  Ruskin, 
Studies  in  both  arts,  34. 

Dresden  Gallery.  See  Morelli,  Ital- 
ian painters,  30. 

Dresel.  See  Apthorp,  Musicians  and 
music-lovers,  70. 

Dress.     See  Costume. 

Dresser,  Chr.,  5. 

Drexel  collection,  Leno.x  Library. 
See  Prefatory  note,  54,  Kiesewet- 
ler,  56,  Galilei,  57,  Amiot,  6r,  Beet- 
hoven, 63,  Bombet,  64,  Carpani,  64, 
Gretry,  64,  Wagenseil,  68. 

Drurj',  E^  22. 

Duban,  F.  See  Blanc,  Artistes  de 
mon  temps,  3. 

Dubois.  See  Hervey,  Masters  of 
French  music,  64. 

Du  Manner,  George.  See  Spielman, 
History  01  Pumliy  ^5. 

Du  Mont.     See  Rimbault,  Pianoforte, 

59- 

Dupr^,  Saunier,  34;  see  also  Blanc,  Ar- 
tistes de  mon  temps,  3. 

Durani,  J.,  trans.     See  Taine,  13. 

Durand  -  Ruel.  See  Lecomte,  Im- 
pressionist art,  27. 

Diirer.  Albert,  Cust,  21,  Ephrussi,  27, 
Scott,  34-35,  Sweetser,  Artist  biog- 
raphies, 36,  Thausing,  36. 

Durham  Cathedral,  Billings,  39. 

Durm,  J.,  40. 

Du  Sarlel,  O..  49. 

Dutch  etchers  of  xvii.  century.  Sec 
Hamerton,  Etchings  of  Rembrandt, 
24. 

Dutch  masters.  See  Cole,  Old  Dutch 
and  Flemish  masters,  19;  see  also 
Holland. 

Dutch  school  of  art,  Alexandre,  15, 
Cole,  19,  Crowe,  20,  Gower,  23, 
Havard,  25;  see  also  Holland. 

Dwight,  J.  S.  See  Perkins,  C.  C,  58, 
Apthorp,  Musicians  and  music-lov- 
ers, 70. 

Divit:ht\'!  Journal  0/  Music.  See 
Schindler,  66. 

Dyeing,  see  Morris,  Arts  and  crafts 
essays,  51-52. 

Dyer.  T.  H.,  5. 

Eastern  architecture.  See  Oriental 
architecture. 

Eastlake,  Lady.  See  Jameson,  His- 
tory of  our  Lord  as  exemplified  in 
works  of  art,  26. 

Eastlake,  Sir  C.  L.,  40. 

Eaton,  W.  See  Modern  French  mas- 
ters, 29. 

Ecclesiastical  architecture,  of  Scot- 
land, Macgibbon  rt«(f  Ross,  43.  See 
also  Cathedrals,  Churches,  Sacred 
buildings. 

Eddy.  C,  trans.     See  Haupt,  6g. 

Edefinck,  G.,  Delaborde,  21. 


Education  de  I'artislc,  Chcsncau,  j. 
Edwards,  Amelia  B.,  trans.    .See  Mas- 

fero,  Archeologie  Egyptienne,  8-9. 
wards,  C.  A,,  57. 

Edwards,  C.  L.,  62. 

Edwards,  H.  S.,  57,  64,  71. 

Egypt,  life  in  ancient,  Krman,  5;  Mo- 
hammedan art  in,  see  Gayct,  L'art 
ArabCj  6;  modern  manners  and  cus- 
toms in.  Lane,  8  ;  history  and  ar- 
chaeology of,  Masyiero,  9;  art  Jn  an- 
cient, Perrot  awf/Chipicz,  io-ii;art 
of  Saracens  in,  Poole,  11;  ten  years' 
di.jging  in,  Pelrie,  11  ;  art  in,  see 
Tarbell,  History  of  Greek  art,  13: 
sculpture  in,  see  Paris,  La  sculpture 
antique,  30,  RiNUord,  Sculpture,  32; 
ancient  Coptic  churclies  01,  Butler, 
39;  origin  of  European  architecture 
m,  .srt'EergTisson,  History  of  archi- 
tecture of  all  countries,  4,0  \  ancient 
architecture  in,  j:tv  Smith  and  Sla- 
ter, 46;  pottery  of.  Birch,  .(8;  decora- 
tive art  of,  Petrie,  52. 

Egyptian  music.  .SW- Reissmann.  All- 
gemeine  Geschichte  der  Musik,  56; 
Kiesewetter,  Die  Musik  der  Araber, 
62. 

Ehlert,  L.,  71. 

Eleusinian  mysteries.  See  Gardner, 
New  chapters  in  Greek  history,  5. 

Elizabethan  architecture.  See  Har- 
ris, Three  periods  of  English  archi- 
tecture, 42;  Harrison,  Annals  of  an 
old  manor-house,  42. 

Ella.  J  ,71. 

Etlis,  A.  J.,  trans.  See  Helmholtz, 
69-70. 

Ellis,  W.  A.,  trans.     See  Wagner,  63. 

Elterlein,  E.  von,  71. 

Emancipation  01  the  picture,  Hall- 
ward.  See  Transactions  of  the  Na- 
tional Association  for  the  Advance- 
ment of  Artj  53. 

Embroidery,  Sturgis,  53  ,  English,  see 
Alford,  Needlework,  48  •  and  lace, 
Lefebure,  51 ;  processes  in,  see  Lilley 
and  Midgley,  Studies  in  plant  form, 
51;  modern,  Turner,  .jtv  Moms,  Arts 
and  crafts  essays,  51-52. 

Emerson,  Alfr.,  5. 

Emotions,  expression  of,  Darwin,  21. 

Enamel,  Rudler,  53,  Sturgis,  s^;  Chi- 
nese, see  Paleologue,  L'art  Cnii.ois. 
10;  Persian,  jft!  Van  Dyke,  History 
of  paintingj  36. 

Encaustic,  tiles,  see  Jewitt.  Half- 
hours  among  some  English  an- 
tiquities, 7;  painting,  see  Crownin- 
shield.  Mural  painting,  20-21. 

Encyclopaedia  Britannica.  See  Col- 
vin,  4,  Murray,  10,  Sayce,  12,  Walls, 
14,  Hamerton,  24,  Middleton,  29, 
4^,  Morris,  30,  Reid,  32,  Wilson,  37, 
Freeman,  41,  Freeman  and  Gard- 
ner,41,  LewiS(7«</Street,42,  Morns 
and  Middleton,  44,  51,  Papworth. 
44,  Rudler,  53    Macfarren,  56. 

Encyclopaedias  and  dictionaries  of 
music  (department),  73. 

Engel,  C,  57,  62. 

Engineering  Magazine.  Sec  Sturgis, 
46. 

England,  harbours  of,  Ruskin.  3:1' 
landscape  gardening  in,  see  Blom- 
field  and  Inigo,  39;  history  of.  Free- 
man, 41. 

English  antiquities,  Jewitl,  7. 

English  architecture,  three  periods  of, 
Harris,  42;  rise  and  decline  of  mod- 
ern, Loflie,  42  •  domestic,  from 
Richard  II.  to  Henry  V'lll.,  Parker. 
44;  from  Edward  I.  to  Richard  II. 
Parker  a  nd  Turner,  44. 

English  art,  Kunst  u.  Klinstler  des 
Mittelalters  u.  der  Neuzeit,  Dohme. 
5;  Artistes  Anglais  contemporains, 
Chesneau.iS:  in  collect  ion  of  Charles 
I.,  see  Phillips,  Picture-galler>'  of 
Charles  I.,  31;  history  of  water- 
color  painting  in  England,  Red- 
grave. 31. 

English  music,  old,  popular.  Chap- 
pell,  61  ;  masters  of,  Willeby.  67I; 
see  also  Hogarth,  memoirs  of  the 
opera  in  England,  57;  also  British 
music. 

English  school  of  pamting,  century  of 
painters  of  the,  Redgrave,  R.  and 


S.,  32;,dictionarj'  of^  artists  of  ...c, 
Kc-dgrave,  ■\-2. 

Engravers,  Bryan,  14,  Beraldi,  17, 
Linton,  28,  Cole,  19;  sec  also  Dcl.i- 
bordc,  Edclinck,  31  ;  also  Etchers. 

EngravinL',  Sturgis,  36;  srealso  Dela- 
borde, Etudes  sur  les  beaux  arts  en 
France  et  en  Iialie,  4,  Hamerton. 
Present  state  of  the  fine  aria  of 
France,  7;  Japanesf,  And('rs()n,  ■><.; 
masters  and  masterpieces  of, Chapin, 
18;  American,  see  Century  gallery, 
18;  on  mediaeval  tombs,  see  Macklin, 
monumental  brasses,  38.  See  aisa 
Etching,  Wood-engraving. 

Engravings,  American,  see  Koehler, 
American  art,  7,  Cole's,  ig,  Dllrer's, 
21,  Hogarth's,  22*  after  Van  Dyck, 
jtvMichiels,  Van  Dycket  sest^Iives, 
29;  Lupton's,  see  Ruskin,  Harbours 
of  England,  33. 

Enlart,  C.,  40. 

Ephrussi,  C.,  22. 

Epidaurus,  discoveries  at.  See  Gard- 
ner, New  chapters  in  Greek  htstorv« 
5- 

Episcopal  crooks.  See  Maskell,  De- 
scription of  ivories  in  South  Ken- 
sington Museum,  si 

Epochs  in  art,  Gothic,  xii.  century, 
see  Gonse,  L'art  Gothique,  6  ;  ir. 
France,  jtv  Lcchevallier-Lhevig- 
nard,  Les  styles  Francais,  8 ;  of 
the  xvn.  century,  see  Lemonnicr, 
Etudes  dart  et  dc  I'histoire  d'art 
Frani;aisau  temps  de  Richelieu  e* 
Mazarin,  8:  of  Charles  VIM.,  see- 
Muntz,  La  Renaissance  en  Italicct 
en  France,  9  ;  of  the  decline,  see 
Thirion,  Les  Adam  et  Clodion,  36, 
Wnlffen,  Renaissance  und  Ilarock, 

i7,  the  romantic,  see  Veron,  Eugene 
)elacroix,  36;  Italian  Romanesque, 
see  Cattaneo,  L'architcttura  in 
Italia,  39;  Roman,  of  the  republic 
and  the  empire,  see  Martha,  Manu- 
el d'archeologie  Etrusque  ct  Ko- 
maine,  8. 

Erk,  L.,  and  Bohme,  F.,  62. 

Erman,  A..  5. 

Essenwein,  A.  von,  40. 

Etchers,  Haden,  24  ;  etching  and, 
Hamerton,  24;  Dutch,  of  the  xvii. 
century,  see  Hamerton,  Etchings  of 
Rembrandt,  24;  Licvrc,  see  Mantz, 
Hans  Holbein,  28 .  Callot,  see 
Vachon,  Jacques  Callot,  36.  See 
also  Engravers. 

Etching,  Delaborde,  ai,  Haden,  24, 
Koehler,  26;  see  also  Bracauemond, 
Du  dessin  et  de  la  couleur,  17; 
Chapin,  Masters  and  masterpieces 
of  engraving,  18;  in  America,  Hitch- 
cock, 25;  see  also  Koehler,  American 
art,  7;  in  England,  Wedmore,  37; 
see  also  Scotl,  The  little  masters. 

Etchings,  of  Rembrandt,  Haden,  24, 
Hamerton,  24;  fac-similes  of  Van 
Dyck's,  sei  Michiels,  Van  Dyck  et 
ses Aleves,  29.     See  als-  Prints. 

Etex.  Antoine,  Mangeant,  28. 

Ethenngton,  L.  M.,  trans.  .s'*v  Ches- 
neau.  La  peinture  Anglaise,  18. 

Etruna,  cities  and  cemeteries  of, 
Dennis.  4*  sculpture  of,  Paris,  30. 

Etruscan  architecture,  Martha,  8 ; 
Durm,  Die  Baukunst  der  Etrusker. 
40. 

Etruscan  art.  Dennis,  4;  and  archi- 
tecture, Martha,  8. 

Etruscan  pottery.  Birch,  48;  see  als,* 
Robinson,  Vases  in  the  Boston  Mu- 
seum, 52. 

Euclides,  on  music.  See  Musici  Scrip- 
tores  Graeci,  60. 

Europe,  art  tour  to  northern  capitals 
of,  Atkinson,  2. 

European  architecture,  Sturgis,  46. 

Evans,  .M    M.  (l.adv  Evans).  49. 

Evetts.  B.  T.  A.,  trans.  ,^«v  Babclon, 
Archeologie  oricntalc,  2. 

Excursions  in  art  and  letters.  Story,  13. 

Excursions  in  (ireecc,  Diehl,  5. 

Expression  m  art,  see  Beard,  Action  in 
art,  16;  anatomy  and  philosophy  ol. 
Bell.  17. 

Expression  of  emotions  in  man  and 
animals,  Darwin,  31. 


So 


Eye  (The).    5«Laugel,  A.,L'optique 
et  les  arts,  8. 

Faccio.     .SV.-  Streatfeild,    Masters  of 

Italian  music.  66. 
Faencc.    iV?  Pottery. 
Fairholt,  Costume  in  England,     ics 

Prefatory  note,  48. 
Farrar,  F.  W.,  22. 
Faure.      See     Hervey,     Masters    of 

French  music,  64. 
Fenollosa,  E.  F.,  22. 
Fergusson,  J.,  40-41.  •      ,  „„ 

Ferrara,  history  of  paintmg  in,  front 
XIV.   to  XVI.    century,    Crowe   an^ 
Cavalcaselle,  20. 
Fetis,  F.  J.    See  Kiesewetter,  K.  o., 

^/,,/Fetis,  58. 
Ffoulkes,   Constance   J.,   /ranj.     .i« 

MorelH,  Italian  painters,  30. 
Fidiculis  bibliograph.a  (De),  Heron- 
Allen,  57. 

Fidit-re,  O..  22.  , 

Fi<'ure-painting,  BrUcke,  The  human 
ti'Ture  iS;  figure-painters  of  Hol- 
la^nd,  Gower,  2j;  figure-drawing  and 
composition,  Hatton,  24-25;  Jft-n"" 
Millet,  Some  artists  at  the  fair,  9, 
Steele  <!«<:'  Adams,  Beauty  of  form 
and  grace  of  vesture,  53.  _,  .  .  , 
Fillmore,    J.    C,    57;    «•'■    Fletcher, 

Study  of  Omaha  Indian  music,  62. 
Finck,  H.  T.,67-7i- 
Fine  art  (department),  1-15. 
Fine  art.     See  Art. 
Fink,  G.  W.,  57.  ^ 

Fire,  avoiding  risk  of.     .s.v  Viollet-le- 

Duc,  Histoired'une  maison,  47. 
Fisher,  D   H.,  trans.     See  Boissier.  3. 
Fisher,  R.,  22.  ^      u    j   „ 

Fitzwilliam  Museum,  Cambridge, 
catalogue  of  gems.  Middletop,  29; 
casts  in,  Waldstein,  37  ;  loan  collec- 
tion of  plate,  Foster  ,<>;/  Atkinson, 


Flandrin.     See  Blanc,  Artistes  de  mon  ^ 

temps,  3.  . .  , 

Flemish  school  of  art,  Alexandre,  15, 
Cole,  19,  Conway,  19.  Crowe  ,t>:,/ 
Cavalcaselle,  20;  Wauters,  introduc- 
tion of  landscape  in  the,  see  Michel, 
Etudes  sur  rhistoire  de  I'art,  29.  See 
«A,.  Dutch  school  of  art. 
Flesche,  Francis  La.    See   Fletcher, 

Study  of  Omaha  Indian  music,  62. 
Fletcher,  .A.  C.,62. 
Fletcher,  B., /iW  Fletcher,  B.  I'.,4i- 
Fletcher,  W.  G.,  49-50.         .     . 
Florence,  guide  to  the  paintings  of, 
Karoly,  26;  painting  in,  j.v  Lafenes- 
tre  ,t't,/  Richtenberger,  Painting  in 
Europe,  27,  mornings  in,  Ruskin,  34. 
Florentine  school  of  art.     .s,-.-  Mes- 

nard.  La  peinture  i  Sienne,  28. 
Folk-music  and  folk-song,  American 
Indian,  Baker,  61,  Boas,  61;  Negro, 
Allen,  Ware.    ,!>!•/    Harrison,    61, 
Marsh,    61  :    Arabian  and  eastern, 
Kiesewetter, 62;Bahaman, Edwards, 
62  •  Breton,    Villemarqu<5,   Barzaz- 
Breiz,  63  ;  Canadian,  Gagnon,  62  ; 
Chinese,  Amiot,  61;  English,  Chap- 
pell,  61;  French,  Villemarque,  Bar- 
zaz-Breiz.  63 ;   German,     Erk  ami 
BiJhme,  62,  see  a/so  Reissmann,  .Ml- 
gemeine  Geschichte  der  Musik,  56  ; 
Greek,  Kiesewetter,  Ueber  die  Mu- 
sik der  neureren  Griechen,62;  Gyp- 
sy, i.v  Liszt,  Des  Boh^miens  et  de 
leur  Musique  en  Hongrie,  62  ;  In- 
dian, Day,  61-62;  Irish,  Walker,  63  ; 
Russian,  Istomin  and  LUtsh,  62;  of 
savage  races,  see  Wallaschek,  Prim- 
itive music,  63. 
Folk-song    and    national  music    (de- 
partment), 61-63.  .     ,,     . 
Forain.    See  Morin,  French  illustra- 
tors, 30. 
Foreign  parts,  James,  7. 
Forgues.  Eug.,  22. 
Forkcl,  J.  N.,  55;  see   also  Prefatory 

note,  54 
Forster,  Ernst,  5. 
Fortnum,  C.  D.  E.,  22,  50. 
Fortresses  of  the  Middle  Ages.     See 
Essenwein,  Die  Romanische  und  die 
Gothische   Baukunst;  die    Kriegs- 
baukunst,  40.     See  also  Churches, 
Castles.  Military  architecture. 


Index. 


Fortuny,  Davillier,  21. 
Foster,  Mrs.,  fans.    See  Vasari,  13. 
Foster,  J.  E.,  and  Atkinson,  T.  D.,  50. 
Fra      Bartolommeo.     See    Bartolom- 

meo,  Fya.  ,    ,^   ■       ,. 

France,  antiquities  of,   Reinach,   11, 
seeaUo,  Reinach,  Roman  sculpture, 

France    artistique    et    monumental, 
Havard,42.     ^     ,    .      ,      ,  „  n. 
Francis  I.    See  De  Laborde,  La  Re- 
naissance  des    arts  i    la   cour   de 
France,  4.  ,,  t 

Franck.      See    Hervey,    Masters    of 

French  music,  64. 
Franz.    See  Apthorp,  Musicians  and 

music-lovers,  70. 
Franz-Pascha,  41-  ,      „ 

Frederic  1 1 ..  arts  at  the  court  of.     See 
Michel,  Etudes    sur   I'hisloire    de 
I'art,  28. 
Freeman,  E.  A.,  4i-     ,  .         >,     ,     „f 
French  Academy  and  its  schools  of 
instruction.      See    Stranahan,   His- 
tory of  French  painting,  35-36. 
French  architecture.  Chateau,  39,  see 
also  Havard,  La  France,  42;  origin 
of  Gothic  architecture  in,   Enlart, 
40-  in  development  of  Gothic  archi- 
tecture, Moore,  43-44:  mde.x  to,  from 
the  XI.  to  XVI.  century,  see  Sabine, 
Table     analytique,    45  ;    ^"    """ 
France,  antiquities  of. 
French  art,  Brownell,  3.  Delaborde, 
4,  Hamerton,  7,  Proust,  u;  styles 
of,    Lechavelher-Chevignard,    8; 
Kunstu.  Klinstlerdes  Mittelalters, 
Dohme,  5,  see  also  Rosenberg,  Ge- 
schichte der  modernen   Kunst,   12; 
history  of,  Alexandre,  i5-i6,  Straii- 
ahan,  35-36;  Renaissance  of,  Patti- 
son,  10,  Delaborde,  4;  au  temps  de 
Richelieu  et  Mazarin,  Lemonnier, 
8-  Renaissance  i  I'epoque  de  Charles 
VIII.,  Miintz,  9;  Parisian,   Bacon, 
16;  of  Delacroix  and  Regnault,  Ue 
Lostalot,   21,  masterpieces  of.  Le- 
fort,  27;  in  the  reign  of  Louis  AV., 
<«  Mantz,  Francois  Boucher,  28; 
from  Ingres  to  Delacroix,  -ee  Mich- 
el, Chef  d'oe-.ivres,  28;  modern  mas- 
ters of.itv  Modern  French  masters, 


French  bookbinding.    See  Fletcher, 
Bookbinding      in      England      and 
France,  49-50. 
French  costume,  Renan,  52;  see  also 
Viollet-le-Duc,     Dictionnaire     rai- 
sonne  du  mobiher  Franvais,  53. 
French  illustrators,  Morin,  30. 
French  music,  history  of,  i^.-  Breiidel, 
Geschichte  der  Musik    in    Italien, 
Deutschland  u.  Frankreich,  55;  pres- 
ent state    of,    Burney,   5f^57;   anjl 
opera,  Hogarth,  57.  Celler,  57;  stud- 
ies in,  Schletterer,  59;  popular,  of 
Brittany,  Villemarquc,Barzaz-Breiz_, 
63;    masters   of,    Hervey,  64;   and 
manners,  Chorley,  70. 
French  traits,  Brownell,  3. 
Frescobaldi.    See    Rimbault,    Piano- 
forte, 59.  ,.         .^  , 
Frescoes,  Wilson,  37;  "  spint-fresco 
process,  see  Gambler,   Ministry  ot 
fine  art,  5;  o'  Raphael,  see  Good- 
year, Roman  and  mediaival  art,  6; 
Florentine,  i.-f  Karoly,  Guide  to  the 
paintingsof  Florence,  26;  of  Correg- 
gio,  see  Ricci,  Antonio  Allegri  da 
Correggio,   32-33 ;    of    Giotto,    see 
Ruskin,  Giotto  and  his  works,  33. 
.S>^  also  Mural  paintmg.  Tempera. 
Fringing.     See  \Valker,  Varied  occu- 
pations in  stringwork,  53. 
Friuli,  history  of  painting  in,   from 
xiv.  to  XVI.   century,    Crowe    ana 
Cavalcaselle,  20. 
Frizzoni,  Gustave,  5. 
From  the  tone  world,  Ehlert,  71. 
Fromentin,  Eug. .  5,  22;  Gonse,  23. 
Fr-ost,   A.   B.    See  Smith,  American 

illustrators,  35. 
Frost,  H.  F.,64. 
Frost,  W.  H.,  67. 
Frothingham,  A.  L.     See  Marquand, 

A.,  and  Frothingham,  28. 
Frothingham,  A.  L.,^'^,  5- 
Frothingham,  Miss,  trans.     See  l^ol- 
lignon,  Phidias,  19. 


Fugue,  Prout,  70;  and  counterpoint,, 
theory  of,  Haupt,  69. 

Fuller-Maitland.  J.  A.,  64,  ed.,  see 
Deiters,  64,  Streatfeild,  72;  trans.. 
See  Spitta,  66. 

Furniture.  Sturgis,  53;  Gothic,  see 
Gonse,  L'Art  C.othique,  6;  of  xvii., 
xvui.,  and  xix.  centuries,  De 
Champeaux,  49;  arts  of,  Havard,  50; 
colonial,  of  New  England,  Lyon, 
51;  and  the  room.  Prior,  see  Mor- 
ris, Arts  and  crafts  essays,  51-52; 
ancient  and  modern,  in  South  Ken- 
sington Museum,  Pollen,  52;  dic- 
tionary of  French,  VioUet-le-Duc, 

Furtwangler,  A.,  23. 

Gabrieli,.^.  5<v  Winterfeld,    onannes 

Gabrieli,  59-  ,.,.         ,  , . 

Gabrieli,  Johannes,  Winterfeld,  59. 
Gage,  W.  A.,  trans.     See  Lampadius, 

65- 

Gagnon,  E.,  62. 

Gailhabaud,  J.,  41. 

Gainsborough,  Armstrong,  t6. 

Galilei,  v.,  57;  see  also  Bellerman,  63. 

Galland,  Pierre  Victor,  Havard,  25. 

Galleries,  Boston  Museum  of  fine 
Arts,  Robinson,  52  ;  Boston  Public 
Librar\',  Fenollosa,  22;  Borghese, 
Morelli,  30;  British  Museum,  Fish- 
er, 22;  Chantilly,  Gruyer,  23;  Doria- 
Pamfilia,  Morelli,  30;  Dresden, 
Morelli,  30;  Fitzwilliam  Museum, 
Waldstein,  37,  Foster  a  nd  Atkinson, 
50:  Louvre,  De  PouvourviUe,  4 
Clarac,  19,  Couraiod,  20,  Gruyer,  23, 
Lafenestre  and  Richtenberger,  27  ; 
Luxembourg,  Benedite,  17  ;  Metro- 
politan, La  Farge,  27,  Brown  and 
Brown,  61;  Munich,  Morelli,  30;  Na- 
tional, Cook,  19,  Moore,  23  ;  South 
Kensington,  Smith,  12,  Fortnum, 
22,  50,  Evans,  40,  Maskell,  51,  P"'- 
len,  52,  Rock,  52;  Venetian  Academy 
of  Fine  Arts,  Ruskin,  34. 
Galilean    chant.      See    PaWographie 

Musicale,  58. 
Gambler,  P.  T.,  5.  , 

Gardens.     See  Landscape  gardening. 

Gardner,  E.  A.,  23.  c  1.      i, 

Gardner,  Percy,  5,23.  i««A<pSchreib- 

er.  Atlas  of  classical  antiquities,  12. 
Garnier,  E.,  50.  ««,„;„. 

Gaudentius,  on   music.      See   Musici 

Scriptores  Grseci,  60. 
Gavarni,  P.,  Forgues,  22. 
Gayet,  A.,  6. 

Gazetta  Musicale  di  Mtlam.n- 
Geddes.      See  Wedmore,  Etching  in 

England,  37.  ,    , 

Gems,  engraved,  Babelon,i6-  Lecoy 
de  la  Marche,  Les  sceaux,  27,  see 
also  Babelon.  Archa-ologie  orien- 
tale,  2;  Greek,  see  Murray,  Hand- 
book of  Greek  atchjeology,  10;  clas- 
sical, Mlddleton,  29. 
Genoa,  buildings  of  the  Roman  time 
and  the  Middle  Ages  in  See  Mac- 
gibbon,  Architecture  of  Provence 
and  the  Riviera,  43. 
German  art,  Kunst  und  Kunstler  des 
Mittelalters  und  der  Neuzeit,  Dohme 
5-  Denkmale  deutscher  Baukunst, 
Bildnerei  und  Malerei  v  Einf^hr- 
ung  des  Chnstenthums  bis  auf  de 
neSsle  Zeit,  Forster,  5 ;  Geschichte 
der  deutscher  Kunst  v.  den  lr"hert- 
en  Zeiten  bis zur  Gegenwarl,  Lubke 
8 ;  see  also  Rosenberg,  Geschichteo 
der  Modernen  Kunst,  12;  Crowe, 
Handbook  of  painting,  20.  , 

German  music,  history  of,  Brendel. 
Geschichte  der  Musik  in  Italien. 
Deutschland  u.  Frankreich,  5.5. 
Boehme,  Geschichte  des  Tanzes  in 
Deutschland,  6.  :  Present  state  of, 

Burney,  56-57  :  «"'' °P"*' fiSck 
57  •  and  concerts,  see  HanslicK, 
Geschichte  des  Concertwesens  m 
Wien,  57;  and  song,  Reissmann,  Uas 
Deutsche  Lied,  58-59.^  Erk  and 
BUhme,  Deutsche  Liederhort  62 , 
religious,  in  connectio  1  with  the  de 
velopment   of    the  people    Schlet 


velopment   01    iwc   ^..-k--.   7, 
terer.  Das  Deulsches  S.ngspiel,  59; 
iSLst^rs    of,    Fuller-Maitland,   64; 
modern,  Chorley,  70:  and  manners. 


Index. 


8t 


Chorley,  70 ;  see  also  Hanslick,  71, 
Holmes,  Ramble  among  the  musi- 
cians of  Germany,  72. 

G^rume,  J.  L.,  Low,  28. 

Gerspach,  E.,  41. 

Gcvaert,  F.  A.,  60,  69;  see  also  Am- 
bros,  Geschicte  der  Musik,  55. 

Gibson,  \V.  H.,  9. 

Gilbert,  J.,  23. 

Gilchrist,  Alex.,  23. 

Giotto,  and  his  works  wi  Padua,  Rus- 
liin,  33. 

Glasenapp,  C.  F.,  67. 

Glas^,  Chinese,  see  Pal^ologue,  L'art 
Chinois,  10;  painted,  .f^t-  Merson,  Les 
vitraux,  43;  stained,  see  Gonse,  L'art 
Gothique,  6,  Jewilt,  Half-hours 
among  some  Eng.  antiquities,  7;  col- 
ored prints  of,  .^ee  Harrison,  Annals 
of  an  old  manor-house,  4::;  in  artistic 
design.  Sturgis,  53;  sre  aho  Havard, 
Les  arts  de  rameublemenl :  la  ver- 
rerie,  50. 

Glossaries  (department),  14-15. 

Gloucester  Cathedral.  See  Gambier, 
Ministry'  of  fine  art,  5. 

Gluck,  and  the  opera,  Marx,  65,  New- 
man, 65. 

Godard .  See  H ervey ,  Masters  of 
French  music,  64. 

Golden  gate.  Jit-c  Ruskin,  Mornings 
in  Florence,  34, 

Goldmark.  .^tv  FuUer-Maitland,  mas- 
ters of  German  music,  64. 

Goldsmiths'  work,  in  South  Kensing- 
ton Museum,  Pollen,  52;  in  the  Mid- 
dle A^es,  it-e  VioUet-Ie-Duc,  Die- 
tionnalre  raisonn^  du  mobilier 
Fran9ais,  53  ;  see  also  Saunier,  Au- 
gustin  Dupr^,  34. 

Gonse,  L.,  6,  23;  see  also  Proust, 
L'art  Franjais,  11. 

Goodyear,  \V.  H.,  6,  41. 

Gothic  architecture,  Gonse,  6,  Cor- 
royer,  39;  plea  tur  revival  of,  Rus- 
kin, 12  ;  and  Romanesque,  see  Cor- 
royer.  Description  de  I'Abbaye 
Mont  St.  Michel,  39;  from  the  Ital- 
ian point  of  view,  see  Boito,  Archi- 
tettura  del  medio  evo  in  Ualia,  39 ; 
history  of  revival  of,  Eastlake,  40, 
see  also  Bilhngs,  Architectural  il- 
lustratioris,  39,  Lewis  and  Street, 
Architecture,  42  ;  French  origin  of, 
Enlart,  40;  modern,  Jackson,  42; 
development  and  character  of, 
Moore,  43-44 ;  and  Renaissance, 
Smith  and  Poynter,  45-46;  in  Spain, 
Street,  46;  of  North  Italy,. vtv  Street, 
Brick  and  marble  in  the  Middle 
Ages,  46.    See  also  Gothic  vaulting. 

Gothic  art,  Gonse,  6,  see  also  Gonse, 
La  sculpture  Fran9aise,  23 ;  from 
the  Italian  point  of  vievi'.  see  Boito, 
Architettura  del  medio  evo  in 
Italia,  39. 

Gothic  vaulting,  Willis,  47,  VioUet- 
le-Duc,  Ent'-etlens  sur  I'architect- 
ure,  47,  Moore.  Development  and 
character  of  Gothic  architecture, 
43-44.  Sturgis,  European  architect- 
ure, 46. 

Gounod,  Charles  Francois,  autobi- 
ography, 64  ;  see  a(so  Hervey,  Mas- 
ters of  French  mu^ic,  64. 

Gow,  G.  C,  69. 

Gower,  Lo*-d  R,,  23. 

Grahame,  G.,  23. 

Granada,  architecture  of.  Sec  Franz- 
Paccha,  Die  Baukunstdes  Islam,  41. 

Grand-Gr^ce  (La),  Lenormant,  8. 

Grandidier,  E.,  50. 

Graphic  arts,  Hamerton,  24. 

Graun.  See  Bitter^  Beitrage  zur 
Geschichte  des  Oratormms,  56. 

Graves,  R.  E.,  ed.  See  Dictionary  of 
painters  and  engaavers,  14. 

Greece,  excur;ions  in,  Diehl,  5 ;  re- 
cent excavations  :n,  Gardner,  5 ; 
history  of  art  in  primitive,  Perrot 
II  nd  Chipiez,  n  ;  philosophy  of  art 
in,  Taine,  13. 

Greece,  Greater  (La  Grand-Grtce), 
Lenormant,  8. 

Greek  antiquities.    See  Antiquities. 

Greek  archaeology'.  See  Brunn, 
Griechische  Kunstgeschichte,  3, 
Collignon,  4,  Gardner,  5,  Murray, 
10,  Paris,  30.    See  also  Greek  art. 


Greek  architecture,  Marquand,  43, 
Sturgis,  46;  cyclopajdia  of  works 
of,  Longfellow,  43 ;  ancient,  see 
Smithrt«,/Slater,  Architecture,  clas- 
sical and  early  Christian,  46;  see  also 
Durm,  Die  Baukunst  der  Gricchen, 
40. 

Greek  art,  Brunn,  Griechische  Kunst- 
geschichte, 3  ;  introductory  studies 
in,  Harrison,  7,  24  ;  studies  in,  Pa- 
ter. 10;  history  of ,  Tarbcll,  13.  AV«- 
nho  Greek  sculpture,  Mycena-an 
age. 

Greek  coins,  typer  of,  Gardner,  23. 

Greek  dress,  chapiers  on,  Evans,  49. 

Greek  lines  and  other  architectural 
essays,  Van  Brunt,  46-47. 

Greek  music,  ancient,  ^lusici  Scrip- 
tores  Graeci,  60,  Paul,  60,  Will- 
iams, 61,  Westphal,  61,  Kiesewet- 
ter,  62 ;  hymns  of  Dtonysius  and 
Mesomedes.  Bellermann,  60,  see 
also  Galilei,  57,  Williams,  61. 

Greek  private  life.  White,  14. 

Greek  sculpture,  masterpieces  of, 
Furtwiingler,  23  ;  handbook  of, 
Gardner,  23;  select  passages  illus- 
trative of,  Jones,  26;  history  of,  Col- 
lignon, 19,  Murray,  30,  Overbeck, 
Geschichte  der  Griechischen  Plas- 
tik,  30;  ancient,  Redford,  32;  intro- 
duction to,  Upcott,  36  See  also 
Greek  archceorogy,  Greek  art. 

Greek  studies.  Pater.  10. 

Greek  vases,  in  the  Boston  Museum, 
Robinson,  52;  see  a^so  Birch,  His- 
tory of  ancient  pottery,  48. 

Gregorian  chant,  see  Reissmann,  All- 
gemeine  Geschichte  der  Musik,  56, 
Paleographie  Musicale,  58,  Gevaert, 
60,  Lambillotte,  60. 

Gr^try.  A.  E.  M.,  64. 

Griffin,  Sir  Lepel,  41. 

Gnmm,  H.  F.,  6. 

Gros,  Baron,  Dargenty.  21. 

Grosvenor,  E.  O.,  6. 

Grove,  Sir  G.,  71,  73 ,  see  also  Beet- 
hoven, 63,  67,  Jahn,  64,  Rockstro,  66, 
Kreissle,  65. 

GrowoII,  A.  See  Prideaux,  Hrstorical 
sketch  of  bookbinding,  52. 

Gruyer,  F.  A..  6,  23. 

Guinrey,  Jul..  23-24,  50. 

Gwilt,  J.,  41. 

Gypsy  music.  See  Liszt,  Des  Boh^- 
miens  et  de  leur  musique  en  Hon- 
gne,  62. 

Haden,  F.  S.,  24,  Wedmore,  37. 

Hadow,  W.  H.,  71. 

Half-hours  among  some  Englisii  an- 
tiquities, Jewitt,  7. 

Hall,  Florence  P.,  trans.  See  Jul- 
lien,  67-68. 

Halle,  Adam  de  la,  Conssemaker,  60. 

Hallward,  R.  See  Transactions  of  the 
National  Association  for  the  Ad- 
vancement of  Art,  53. 

Hamerton,  P.  G.,  6-7,  24. 

Hamlin,  A.  D.  F.,  41-42. 

Handel,  G.  F.,Chrysander,  64,  Rocks- 
tro, 66,  Schoelcher,  66;  see  also  Bit- 
ter, Beitrage  zur  Geschichte  des 
Oratoriums,  56;  Rimbault,  Piano- 
forte, 59. 

Handel  and  Haydn  Society  of  Bos- 
ton, history  of,  Perkins  .(w^Dwight, 
58. 

Handicraft  and  design,  elements  of, 
Benson,  48. 

Hanslick,  E,,  57^69,  71-72. 

Harbours  of  England,  Ruskin,  33. 

Harford,  J.  S.,  7. 

Harmony.  Prout,  70;  for  teacher  and 
pupil,  Broekboven,  69;  and  metre, 
Hauptmann,  69;  manual  of,  Jadas- 
sohn. 70,  Richter,  ^o. 

Harper,  C.  G.,  24. 

Harps,  Irish,     .i^*-  Walker,  63. 

Harpsichord.  Sec  Rimbault,  Piano- 
forte, 5C). 

Harris,  T.,  42. 

Harrison,  F.,  42. 

Harrison,  Jane  E.,  7,  24;  ed.x  see 
Paris,  30. 

Harrison,  Lucy  M.  See  Allen,  W. 
F.,  61. 

Hart,  G.,  57. 

Hatton,  R.  G.,  24-25. 


Haupt.  A.,  43,  69, 

Hauptmann,  M.,  69. 

Havard,  H.,  25,  42,  50. 

Hawkins,  .V/>  ^1  55- 

Haydn,  Joseph,  Bombct,  63,  Carpani, 

64,  Nohl,65,  Pohl,66,  Townscnd,67. 
Head,  P.  R.    See  Poynter.  E.  J.,  and 

Head,  31. 

Healy,  G.  P.  A.  See  Modem  French 
masters,  20. 

Heathcolc,  W.  E.,  trans.  See  Haupt- 
mann, 69. 

Healon,  Mrs.  C,  25. 

Hebrew  nHisic,Arends,6o,  Saalschutx* 
60-61;  see  nlso  Reissmann,  Allgc- 
meine  Geschichte  der  Musik.  5,6. 

Hebrew  poetry.  See  Hutchinson,. 
Music  of  the  bible,  58. 

Heintz,  A.,  67. 

Helbig,  W.,  J. and  Lanciani,  7. 

Helmfioltz,  H.  L.  F.,  69-70;  see  also 
Broadhouse,  69. 

HemanSj  C.  L,  25. 

Henderson,  W.  J.,  55,  72. 

Heraldry.  See  Boutcll,  Arms  and 
armour,  49. 

Hermann.  See  Mendel,  Hermann, 
and  Reissmann,  A.,  71. 

Hermits,  legends  of  earfy.  See  Jame- 
son, Sacred  and  legendary  art,  26. 

Heron-Allen,  E.,  57. 

Hervey,  A.,  64. 

Herzogenberg.  See  Fullcr-Maitland, 
Masters  of  German  music,  64. 

Hiatt,  C.p  25. 

Hitdebrand,  H.,  50. 

Hill,  Emily^  trans.    See  Karasowski, 

65.  Eltcrlein,  71. 

Hiplcins,  A.  J.,  57:  see  also  Day. 
Music  and  musical  instruments  of 
Southern  India  and  the  Deccan» 
61-62. 

Hispano-Moresco  ware,  Fortnum,  50. 

Histoirc  d'un  dessinatcur,  Violtet-Ie- 
Duc,  36-37. 

Histoire  d  une  maison,  Viollel-le- 
Duc,  47. 

Historical  art.  See  Hamerton,  Man 
in  art.  24;  Dargenty,  Baron  Gros, 
21 ;  value  of  seals  in,  see  Lecoy  de 
la  Marche,  Les  sceaux,  jj.  interest 
of,  see  Macklin, Monumental  brasses, 
28;  seealso  Military  painting. 

History,  verification  of  ancient,  see 
Garclner,  New  chapters  in  Greek 
history,  5;  inseparable  from  fine  art, 
see  Maspero,  Dawn  of  civilization,^. 

History  of  our  Lord  as  exemplified  in 
works  of  art,  Jameson,  26. 

Hitchcock.  J.  R.  W.,  25. 

Hoeber,  A.  See  Modem  French 
masters,  29. 

Hofmann.  .Vct-Fuller-Maitland, Mas- 
ters of  German  music,  64. 

Hofmeister.    See  Beethoven. 

Hogarth,  G.,  ^7. 

Hogarth,  William,  Dobson,  22 ;  see 
also  Phillips,  Antoine  Watleau,  31 

Hohenstcin,  M.  da.  .SVf  Jaccaci, 
Italian  posters  and  music-book  cov- 
ers, 25. 

Holbein,  Hans,Cundall,2ij;>1antz,  28. 

Holland,  old  masters  of,  rromenlin, 
22;  figure  painters  of,  Gower,  23; 
art  t>f,  Havard,  25;  see  also  Dutch 
school  of  art. 

Holmes,  E.,  64,  72. 

Holmes,  Rachels.  R.,  and  Holmes, 
Eleanor,  trans.    See  Berlioz,  65. 

Homer,  W.  See  Smith,  American 
illustrators^  35. 

Homeric  antiquities,  Seymour,  12. 

Homeric  poems  and  recent  disco%xr- 
ies.  .v.v  Gardner,  New  chapters  of 
Greek  history^  5. 

Homes,  Japanese,  Morse,  9;  in  city 
and  country,  25  ;  see  also  Domestic 
architecture. 

Hope,  R.  C..60. 

Hopes  and  fears  (or  art,  Morris,  9,  51. 

Hi.pfner.  Th..25. 

Hopkins,  A.  A.,«-r/.  5<-«- Vasari,  Livc3 
of  painters,  13. 

Hopkins,  E.  J.,  ii«<i' Rimbault,  E.  P., 

Horace,  country  of,  Boissier,  3. 
Holtenroth,  F  ,  50. 
Houses,    Sturgis,    46 :    Gentleman's, 
Kerr,  43;   countiy,    Mitchell,  43; 


S2 


Index. 


suburban,  Price,  44 ;  western  city, 
Root,  45;  eastern  and  southern  city, 
Stureis,  46;  Histoire  d'une  maison, 
Viollet-Ie-Duc,  47;  interior  decora- 
tion of,  see  Blanc,  Grammaire  des 
arts  decoratifs,  49.  :n:c  also  Do- 
mestic architecture. 

How  to  listen  to  music,  Krehbiel,  70. 

Howe,  W.  H.  ^tv  Modern  French 
masters,  29. 

Hueflfer,  F.,  trans,  .'^ce  Wagner. 
Correspondence  of  Wagner  and 
Liszt,  68. 

Human  fi^re  (The),  Briicke,  iS. 

Huramel,  piano  methodsof.  i^et  Kul- 
lak,  70. 

Humphreys,  H.  N.,  25. 

Hunfjarian  music.  Sec  Liszt,  Des 
Bohcmiens  et  de  leur  musique  en 
Hongrie,  62. 

Hunt,  H.G.  B. ,  55-56. 

Hunt,  W.  M.,  25;  sec  also  Trans- 
actions of  the  National  Association 
for  the  Advancement  of  Art,  53. 

Hunting  in  the  Middle  Ages  in 
France.  Sec  VioIlet-le-Duc,  Die- 
tionnaire  raisonn^  du  mobilier 
Frani^ais,  53. 

Hurll,  Estelle,  ed.  Sec  Jameson,  Sa- 
cred and  legendary  art,  26. 

Huss,  G.  M.,  42. 

Hutchinson,  E.,  57. 

Hutton,  L.  Sec  Clement,  C.  E.,  and 
Hutton,  14. 

Hymns  of  Dionysiusand  Mesomedes, 
Bellerman,  60;  see  also  Galilei,  57, 
Wjlliams,  61. 

Iconography,  Christian.  See  Perate^ 
L'archeologie  Chretienne,  10;  Cle- 
ment, Handbook  of  Christian  sym- 
bols and  stories  of  the  saints,  19  ; 
Didron,  Manuel  d'iconographie 
Chretienne,  22 ;  Farrar,  Life  of 
Christ  as  represented  in  art,  22 ; 
Hemans,  History  of  mediaeval 
Christianity  and  sacred  art,  25; 
Hupfner,  Heiligen  in  der  Christ- 
lichen  Kunst,  25;  Jameson,  Sacred 
and  legendary*  art,  26 ;  Lindsay, 
Sketches  of  the  history  of  Christian 
ait,  27 

Ideal  in  art.  See  Tame.  Lectures  on 
art,  13. 

Ideality  in  Greek  art.  See  Harrison, 
Introductory  studies  in  Greek  art, 
24. 

JUuminated  manuscripts.  6>^  Manu- 
scripts. 

Illustration,  Sturgis,  56;  modern, 
Pennell,  31 ;  American  of  to-day, 
Coffin,  19;  see  also  Black  and  white 
work,  Book-illusbration. 

Illustrators,  American,  Smith,  35 ; 
French,  Morin,  30  ;  see  also  Black- 
burn, Randolph  Caldecott,  17;  Lay- 
ard.  Life  and  letters  of  Charles 
Samuel  Keene,  27. 

Illyria,  coast  of.  See  Freeman, 
Sketches  from  the  subject  and 
nei^hborlands  of  Venice,  41. 

Imagination  in  landscape  painting, 
Hamerton,  24. 

Imitative  art,  Dyer,  5. 

Impressionism.  SturgiSj  36;  see  also 
Hamerton,  Present  state  of  the  line 
art  of  France,  7,  Thomson,  Corot, 
16. 

Impressionists.  See  Lecomte,  L'art 
impresslonniste,  27;  Beckwith,  Ed 
ouard  Manet,  i6;  Child,  Art  and 
criticism,  18. 

Impressions  and  opinions,  Moore,  ^o. 

India,  industrial  arts  of,  Birdwood, 
40. 

Indian  aichitecture,  domestic,  De 
Forest,  39-40;  history'  of,  Fergusson, 
41 ;  famous  monuments  of,  Griffin, 
41;  see  also  Le  Bon,^Les  monuments 
de  rinde,  42. 

Indian  music  and  musical  instru- 
ments, Day,  61-62;  see  also  Reiss- 
mann,  Allgemeine  Geschichte  der 
Musik,  56. 

Indians,  American,  See  American 
Indians. 

Indo-Chinese  art,  De  Pouvourville,  4; 
see  also  Chinese  art. 

Industrial  arts  of  Japan,  Dresser,  5 ; 


of  India,  Birdwood,  49;  historical 
sketches  of,  Evans,  49  ;  of  Scandi- 
navia in  the  pa^an  time,  Hilde- 
brand,  50;  of  Spain,  Riano,  52  ;  of 
Denmark,  Worsaae,  53.  See  also 
Ruskin,  Two  paths,  12 ;  Morris, 
Arts  and  crafts  essays,  51-52. 

Indy,  d'.  See  Hervey,  Masters  of 
French  music,  64. 

Inigo,  T.  See  Blomfield,  R.,  and 
Inigo,  39. 

Insignia,  royal,  noble,  and  clerical. 
See  Lecoy  de  la  Marche,  Les 
sceaux,  27. 

Instrumental  music,  beginningsof,  see 
Reissraann,  Allgemeine  Geschich- 
te der  Musik,  56;  history  of  in  the 
XVI.  century,  Wasielewski,  59. 

Instrumentation,  Prout,  70;  and  or- 
chestration, modern,  Berlioz,  69; 
new  treatise  upon,  Gevaert,  69. 

Instruments,  musical.  See  Musical 
instruments. 

Intaglio.     See  Gems,  Seals. 

Inteflectual  life  (The),  Hamerton,  6. 

Isham,  N.  M.,  and  Brown,  A.  F.,  42. 

Isham,  S.  See  Modern  French  mas- 
ters, 29. 

Istria,  Dalmatia,  and  the  Quarnero, 
Jackson,  42. 

Italian  architecture,  Melani,  43;  in 
the  Middle  Ages.  Boito,  39;  from 
the  VI.  to  the  xi.  century,  Cattaneo, 
39;  French  origins  of  Gothic  in.  En- 
lart,  40;  cyclopeedia  of,  Long-fellow, 
43;  .s-^^  also  Freeman,  Historical 
sketches,  41 ;  ^/.Tf)  Renaissance. 

Italian  art.  Etudes  sur  les  beau.x  arts 
en  France  et  Italic,  Delaborde,  4; 
Kunst  u.  Kunstler  des  Mittelalters 
u.  der  Neuzeit,  Dohme,  5;  Arti 
Italiana  del  Rinascimentb,  Frizzo- 
ni,  5;  Am  del  desegno  in  Italia, 
Paravacini,  10,  Selvfftico,  12,  Sel- 
vatico  and  Chirtani,  12;  philosophy 
of,  see  Tame,  Lectures  on  art,  13; 
Venetian  and  Florentine  painters 
©f  the  Renaissance,  Berenson,  17; 
history  of  painting  in  Italy,  Crowe 
and  Cavalcaselle,  20,  Lanzi,  27; 
paintin;^  in  Italy,  Burckhardt,  18; 
Peinture  Italienne,  Lafenestre,  27; 
Geschichte  der  Italienischen  Male- 
rei,  Liibke,  28;  histoire  de  la  pein- 
ture en  Itahe,  Stendhal,  35;  see  also 
Rio,  L'art  Chretien,  33;  also  Italy, 
Renaissance. 

Italian  costume.  Sue  Bonnard,  Cos- 
tumes historiq  jes  des  ise-ise  si^cles, 
40. 

Italian  gardens,  Piatt,  44. 

Italian  music,  history  of,  Brendel, 
Geschichte  der  Musik  in  Italien, 
Deutschland  u.  Frankreich,  55; 
present  state  of,  Burney,  56-57;  and 
opera,  Hogarth,  57;  masters  of, 
Streatfeild,  66;  Rossini  and  modern, 
Edwards,  64. 

Italian  pottery.  See  Fortnum,  Mai- 
olica,  50. 

Italian  sculpture,  Perkins,  31. 

Italy,  Country  of  Horace  and  Vir- 
gil, Boissier,  3;  influence  of  Byzan- 
tine art  in,  see  Bayet,  L'art  Byzan- 
tin,  3,  Byzantine  art  in  southern, 
Diehl,  4;  La  Grand-Grtce.  Lenor- 
mant.  8.  Sec  also  Italian  art,  etc., 
Renaissance. 

Ireland,  early  architecture  of.  See 
Waring,  Stone  monuments,  14. 

Irish  music,  Walker,  63. 

Isawa,  S.,  62. 

Istomin,Th.  M.,  (2«(/Llitsh,  G.  0.,62. 

Ivories,  carved,  see  Pal^ologue,  L'arl 
Chinois,  10;  ancifnt  and  m£diaeval, 
in  the  South  Kensington  Museum, 
Maskell,  51. 

Jaccaci,  A.,  25. 

Jackson,  J.,  25-26. 

Jackson,  T.  G.,  42. 

Jadassohn,  S.,  70. 

Jade.    See  Pal^ologue,  L'art  Chinois, 

10. 
Jaennick,  F.,  50-51. 
Jahn,  0.,64. 
James,  Henry,  7. 
James,  R.  N.,  14. 
Jameson,  Mrs.  A.,  26. 


Janotha,  Natalie,  trans.  See  Klec- 
zynski,  72. 

Janus,  C,  ed.  Sec  Music!  Scriptores 
Graeci,  60. 

Japan,  architecture,  art,  and  art  of 
manufactures  of.  Dresser,  5;  artist's 
letters  from.  La  Farge,  7.  See  also 
Japanese  art. 

Japanese  art.  Dresser,  5,  Gonse,  6, 
Jarves,  7,  Sturgis,  13 ;  see  also  De 
Pouvourville,  L'art  Indo-Chinois,  4. 
See  also  Japan. 

Japanese  homes  and  their  surround- 
ings, Morse,  9. 

Japanese  music,  Isawa,  62. 

Japanese  picture-books,  reproductions 
from.  See  Jarves,  Glimpse  of  the 
art  of  Japan,  7. 

Japanese  prints.  See  Anderson,  Jap- 
anese wood-engravings,  16. 

Japanese  wood-engravings,  Ander- 
son, 16. 

Jarves,  J.  J.,  7. 

Jesso,  processes  in.  See  Lillty  and 
Midgeley,  Studies  in  plant  form,  51. 

Jewitt,  L.,  7. 

Joachim.  See  Fuller-Maitland,  Mas- 
ters of  German  music,  64. 

John  0/ Bologna^  Desjardins,  21. 

John  0/  Douai.  See  Desjardins,  La 
vie  et  Tceuvres  de  Jean  Bologne,  21 

Johnson's  universal  cyclopaedia.  See 
Emerson,  A.,  5;  Helbig,  W.,  and 
Lanciani,  R.,  7  ;  Sturgis,  12,  46,  53. 

Joncieres.  See  Hervey,  Masters  of 
French  music,  64. 

Jones,  H.  S.,  26. 

Jones,  Inigo,  and  Wren,  Loftie,  43. 

Journals,  musical,  list  of,  73. 

Jubilee  singers,  Marsh,  62. 

Judaea,  history  of  ancient  art  in,  see 
Perrot  atid  Chipiez,  11. 

Jullien,  A.,  67-68. 

Justi,  K.,  26. 

Kade,  O.  See  Ambros,  Geschichte 
der  Musik,  55. 

Kalkbrenner,  piano  methods  of.  See 
KuUak,  70. 

Kandler,  F.  S.,  64. 

Karasowski,  M.,  65. 

Karoly,  K.,  26. 

Keane,  A.  \\,^  trans.  ,5"i?^  Justi,  Diego 
Velasquez  and  his  time,  26. 

Keene,  C.  S.,  Layard,  27  ;  see  also 
Moore,  Modern  painting,  30;  Spiel- 
man,  History  of  Punchy  35. 

Keller,  A.     See  Villemarqu^,  63. 

Kerr,  R,,  42;  rez'iser,  see  Fergusson, 
History  of  the  modern  styles  of  ar- 
chitecture, 40-41. 

Kiesewetter,  R.  G.,  56,  58,  60,  62;  a»d 
Fetis,  58;  see  also  Prefatory  note,  54. 

Kingsley,  E.  See  Smith,  American 
illustrators,  35. 

Kirchner.  5^^  Fuller-Maitland,  Mas- 
ters of  German  music,  64. 

Kistler,  C.  ^V^  FuUer-Maitland, 
Masters  of  German  music,  64. 

Klauser,  K.,  ed.     See  Paine,  65. 

Kleczynski,  J.,  72. 

Knotting.  .S"^^  Walker,  Varied  occu- 
pations in  stringwork,  53. 

Koehler,  S.  R.,  7,  26;  see  also  Buxton, 
English  painters,  31. 

Kohler,  piano  method  of.  See  Kul- 
lak,  70. 

Krehbiel,  H.  E.,  58,  68,  70. 

Kreissle,  H.  von,  65. 

Kretzschmar,  H.,  72. 

Kuflerath,  M.,  68. 

Kuhnau.    See  Rimbault,  Pianoforte, 

59- 
Kullak,  A.,  70. 
Kullak,  T.    See  Kullak,  A.,  70. 

Lace,  Lefebure,  Broderies  et  den- 
telles,  51;  history  of,  Palliser,  52; 
history,  description,  manufacture, 
bibliography,  see  Seguin,  Le  den- 
lelle,  53. 

Lacquer,  Sturgis,  53 ;  Japanese,  see 
Gonse,  L'art  JaponaiSj^  6;  Chinese, 
see  Paleologue,  L'art  (.hinois,  10. 

La  Farge,  J.,  7,  27. 

Lafenestre,  G.,  and  Rich  ten  berger, 
E.,  27. 

Lalor,  J.  J.,  trans.    See  Nohl,  65. 

La  Mara  (Marie  Lipsius),  72. 


Index. 


83 


Lambillotle,  L.,  6:>. 

Lamennais.   See  Rto,  Epilo^t:  ;\  I'iirt 

Chretien,  33. 
Lampadius,  W.  A.,  65. 
Lancelolti   Palace,  the  disc-thrower, 
in.    St-e  Collignon,  Histoire  dc   Iq 
sculpture  Grecque,  19. 
Lanciani,     R.,   7-8,    and    Helbig,    7, 

and  Ramsay,  11. 
Landscape    g^ardening,    Parsons,   44; 
see  also   Blomfield  and  Inigo,   ror- 
raal  garden  in  England^  39;  Piatt, 
Italian  gardens,  44;  Robinson,  Gar- 
den design,  44-45. 
Landscape    painting.  Couture,    Pay- 
sage,  20,    Hamerton,    24,    see  also 
Proust,  L'art  Fran9ais,  11,  Ruskin^ 
Harbours  of  England,   33;    before 
Claude   and  Salvator,    Gilbert,  23  ; 
introduction    of,    in    the    Flemish 
s:hool,    see     Michel,     Etudes    sur 
rhistojre  de  l'art,  29. 
Landscapes,  architecture  in  relation 
to.     ^V^  Statham,   Architecture  for 
general  readers,  46. 
Landseer,  Sir  E.   See  Sweetser,  Artist 

biographies,  36. 
Lane,  E.  W.,  8. 
Lang,  B.  J.     See  Jullien,  67. 
Langhans,  W.,  56. 
Lanzi,  Abbe  L.,  29. 
Larousse,  P.    See  Clement,  F.,  and 

Larousse,  73. 
Lau,  T.,  51. 
Laugel,  A.,  8. 

Laurens,  Jean-Paul,  Blashfield,  17. 
Lawn  planting.     See  Parsons,  Land- 
scape gardening,  44. 
Laws  of  Fesole,  Ruskin,  34. 
Layard,  G.  S.,  27. 

Leadwork,  old   and  ornamental  and 
f  ">r  the  most  part  English,  Lethaby, 
W.  R.,  51. 
Leaf,  Dr.     See  Schrchhardt,  Schlie- 

mann's  excavations,  12. 
Le  Bon,  Gustave,  42. 
Lechevallier-Chevignard,  E.,  8. 
Lecomte,  G.,  27. 
Lecoy  de  la  Marche,  A.,  27. 
Lectures  and  essays,  Seeley,  12. 
Lectures  and  lessons  on  art,  ^Ioody,  9. 
Lectures  on  architecture  and  painting, 

Ruskin,  12. 
Lectures  on  art,  Ruskin,  12,  Taine,  13, 

Poynter,  31,  Scott,  53. 
Lectures  on  painting,  Lafarge,  27. 
Leech,  J.     See  Spielman,  History  of 

Punchy  35. 
Lefebure,  E.,  51. 
Lefort.  P.,  27. 
Legendary     and     mythological     art, 

handbook  of,  Clement,  19. 
Legends,  of  the  Madonna,  Jameson, 
26;  of  the  monastic  orders,  Jameson, 
26;  of  the  paintings  of  Florence,  see 
Karoly,  Guide  to  the  paintings  of 
Florence,  26;  of  the  Wagner  drama, 
Weston,  68. 
Legros.      See   Wedmore,    Etching   in 

England,  37. 
Leighlon,  Sir  F.,  Rhys,  ^^  ;  see  also 

Bell,  Sir  Edward  Burne-Jones,  17. 
Lemonnier,  H.,  8. 

Lemoyne.     See  Mantz,  Francois  Bou- 
cher, Lemoyne  et  Natoire,  28. 
Lenormant,  F.,  8,  27. 
Lenox  Library.    See  Musici  Scriptores 
Graeci,  60,  Walker,  63  ;  also  Drexel 
collection. 
Lenz,  W.  de,  72. 

Leonardo  da  Vinci,  Richter,  33,  Rio, 
33  ;  see  a/jc  Sweetser,  Artist  biogra- 
phies, 36. 
Leoncavallo.    See  Streatfeild,  Masters 

of  Italiai\  music,  66. 
Lethaby,  W.  R.,  8,  51,  and  Swainson, 

42. 
Levant,    architecture    of    the.      See 
Longfellow,  Cyclopsedia  of  works 
of  architecture,  43. 
Lewis,  T.  H.,  «««' Streetj  G.  E.,  42. 
Leys,  H.     See  Blanc,  Artistes  de  mon 

temps,  3. 
Li^vre,  E.    See  Mantz,  Hans  Holbein, 

28. 
Lilley,  A.  E.  V.,  and  Midgley,   W., 
*  51. 

Lindsay,  Lord,  27. 
Linn,  W.  A.,  25,  43. 


Linton,  W.  J.,  28. 

Lipsius,  Marie.     See  La  Mara,  72. 

Liszt,  Franz,  62,  65,  Nohl,  65,  Ra- 
mann,  66. 

Literature.     See  Roman  lilcratur  t. 

Lithography,  Bouchot,  17,  Stui;;is, 
36;  examples  of  chromo-,  jcc  Flct:h- 
cr.  Bookbinding  in  England  and 
France,  49-50. 

Little  masters  (The),  Scott,  35. 

Liturgical  chants.     See  Chants. 

Loan  associations,  building  and,  Linn, 
43- 

Lottie,  W.  J.,  43. 

Loggi  dei  Lanzi^  at  Florence,  meas- 
ured and  pictorial  drawingsof.  See 
Rohault  de  Fleury,  La  Toscane  au 
Moyen  Age,  45. 

London,  architecture  in,  see  Loftic, 
Inigo  Jones  and  Wren,  43. 

London  city  churches,  Daniell,  39. 

Longfellow,  W.  P.  P.,  ed,,  43. 

Longman,  W.,  43. 

L'Orme,  Philibert  de,  Vachon,  46. 

Lorrain,  Claude.  See  Claude  Lor- 
rain. 

Lotto,  Lorenzo,  Berenson,  17. 

Louis  Xn.  See  De  Laborde,  La  Re- 
naissance'i  la  cour  de  France,  4. 

Louvre,  catalogue  of  paintings  in  the, 
Lafenestre  and  Richtenberger,  27  ; 
pictures  in  the  square  rocm  of  the, 
Gruyer,  23;  sculpture  in  the,  Clarac, 
19,  Courajod,  20;  see  also  De  Pou- 
vourville,  L'art  Indo-Chinois,  4. 

Low,  Will  H.,  9,  28  ;  see  also  Modern 
French  masters,  29,  Smith,  Amer- 
ican illustrators,  35. 

Lubke,  W.,8,  28. 

Lully.     See  Rimbault,  Pianoforte,  59. 

Lupton,  T.  See  Ruskin,  Harbours  of 
England,  ^3. 

Lutes,  Vidal,  Lutherie  et  lutiers,  50. 

Lutsh,  G.  O.  See  Istomin,  Th.  M., 
and  Liitsh,  62. 

Luxembourg  Museum,  Benedite,  17; 
fountain  by  Carpeaux  in  gardens 
of,  see  Chesneau,  Le  statuaire  J.  B. 
Carpeaux,  18. 

Lycia,  history  of  ancient  art  in.  ^Vv 
Perrot  rtW  Chipiez,  11. 

Lydia,  history  of  ancient  art  in.  See 
Perrot  a«rt' Chipiez,  11. 

Lynch.  See  Morin,  French  illustra- 
tors, 30. 

Lyon,  1.  W.,  51. 

Lyrical  drama,  Edwards,  H.  S.,  71  : 
see  also  Celler,  Les  origines  de 
I'op^ra  et  le  ballet  de  la  reine,  57. 

McClure,  M.  L.,  trans.  See  Maspero, 
Dawn  of  civilization,  9. 

McClure^s  Magazine.     See  Low,  28. 

Macfarren,  G.  A.,  56. 

Macgibbon,  D.,  43,  and  Ross,  T.,  43. 

Mackenzie.  See  Willeby,  Masters  of 
English  music,  67. 

Macklin,  AVr/;H.  W..  28. 

Madonna,  Raphael's  paintings  of, 
Karoly,  26,  see  also  Cartwright, 
Raphael,  18;  legends  of,  Jameson, 
26. 

Magazines,  Century  and  St.  Nicho- 
las, see  Century  gallery,  18  ;  Cen- 
tury, see  Modern  French  masters, 
29  ;  AlcClure's,  see  Low,  A  century 
of  painting,  28  ;  Punch,  see  Modern 
painting,  Moore,  G.,  30,  Spielman, 
History  of  Punch,  35;  Scribner''s, 
see  Coffin,  American  illustrations  of 
to-day  and  A  word  about  painting, 
19. 

Magrepha  of  the  Talmud  (The).  See 
Saalschiitz,  Geschichle  u.  Wurdi- 
gung  der  Musik  bei  den  Hcbriiern, 
60-61. 

Magyar  music.  See  Liszt,  Des  Bo- 
h^miens  et  de  leur  musiquc  en 
Hongrie,  62. 

Maindron,  G.  R.  M.,  51. 

Maiolica  ware,  Fortnum,  50. 

Man  in  art,  Hamerton,  24. 

Manatt,  J.   L,  trans,     ^rc  Tsountas, 

Mancinelli.     See  Streatfeild,  Masters 

of  Italian  music,  66. 
Mandyczewski,    E.,    compiler.      See 

Is'ottebohm,  65. 
Manet,  Edouard,   Bcckwith,   16;    see 


also  Bacon,  Parisian  art  and  artists, 
16;  Lccomtc,  L'art  impressioonistc, 
a?. 

Manpcant,  P.  E.,  28. 

Mantz,  P.,  28;  see  also  Prousl,  L'art 
Fran^ais,  ii. 

Manufactures  and  art.  S«e  Indus- 
trial arts. 

Manuscripts,  decoration  of.  See  I-c- 
fort,  Spanish  painting,  37;  painting 
of  in  media-val  times,  see  Propert, 
History  of  miniature  art,  32;  Illu- 
minated, Middlclon,  51. 

Maps  and  plans,  of  Rome  and  Pom- 
peii, see  Boissicr,  Country  of  Hor- 
ace and  Virgil,  3;  of  Rome,  jcr  Dcn- 
nie,  Rome  of  to^ay  and  yesterday, 
4;  of  Egypt,  j(*<r  Pctrie,  Ten  years 
digging  in  Egyjit,  11;  classical  and 
ancient,  see  Harper's  Dictionary  of 
classical  literature  and  antiquities, 
14;  descriptive,  see  Billings,  Archi- 
tectural illustrations,  39,  Gailha- 
baud,  Monuments  ancicns  et  mo- 
derncs,  41;  of  Indian  buildings,  jc<- 
Lc  Bon,  Lcs  monuments  de  I'lndc, 

i2;  of  Tuscan  media--val  cities,  see 
tohault  de  Fleury,  La  Toscane  au 
Moyen  Age,  45;  of  media: val  church- 
es in  Spain^  see  Street,  St>me  ac- 
count of  Gothic  architecture  in 
Spain,  46;  of  Denmark,  previous  to 
1660,  see  Worsaae,  Industrial  arts  of 
Denmark,  53. 

Marble,  brick  and,  in  the  Middle 
Ages,  Street,  46. 

Marelzek,  M.,  s8. 

Marindin,  G.  E.  See  Smith,  Sir  W., 
Wayte,  W.,  and  Marindin,  15. 

Marks  and  stamps,  ceramic,  see  Jacn- 
nicke,  Grundriss  der  Keramik  in 
Bezug  auf  das  Kunstgewerbe,  so; 
of  armor-smiths,  see  Maindron,  Les 
armes,  51. 

Marquand,  A.,  43,  and  Frolhingham, 
A.  L.,  28. 

Marryat,  J.,  51. 

Marsh,  J.  B.  T.,  62. 

Marshall,  H.  K.,  8. 

Martha,  Jules,  8. 

Martini,  Padre.  See  Arteaga,  Le 
revoluzioni  del  tcatro  musicalc 
Italiano,  56. 

Marx,  A.  B.,  65. 

Marx,  R.,  28. 

Mascagni.  See  Streatfeild,  Masters 
of  Italian  music,  66. 

Maskell,  Alfr.,  8. 

Maskell,  W.,  51. 

Mason,  G.  C,  28. 

Maspero,  G.,  8-^. 

Massenet.  -SV*-  Hen-ey,  Masters  of 
French  music,  64. 

Masterpieces,  of  great  artists,  1400- 
1700,  Bell,  17:  of  the  art  of  the 
XIX.  century,  De  Lostalot,  21,  De 
Wyzewa,  22,  Gonsc,  23,  Lefort,  27, 
Michel,  28;  of  Greek  sculpture,  Furt- 
wangler,  23. 

Master-singers  of  Nuremberg,  Wag- 
ner's, typical  motives  of,  Benoil,  67; 
attempt  at  a  musical  explanation, 
Heintz,  67;  historical  sources  of, 
Wagenseil,  68. 

Masters,  old  Dutch  and  Flemish,  Cote, 
19,  Fromenlin^  22;  old  Italian,  Cole» 
19;  the  little,  Scott,  35. 

Masters  and  masterpieces  of  engrav- 
ing, Chapin,  18. 

MaFlers  of  English  music,  Willeby, 
67. 

Mastersof  French  music,  Hcrvey,  64. 

Masters  of  German  music,  FuUer- 
Maitland,  64. 

Masters  of  Italian  music,  Streatfeild, 
66. 

Mathews,  C.  T.,  43. 

Mathews,  W.  S.  iV,  58. 

Mattheson.     See  Rimbault,  59. 

Matthew,  J.  E., /r^wj.  See  Pougin, 
66. 

Mazarin,  F.tudes  d'art  et  d'hisioircde 
l'art  Fran»;ais  au  temps  de  Riche- 
lieu et  Mazarin,  Lemonnier,  8. 

Medallions.  See  Saunier,  Augustin 
Duprc,  34. 

Medals.  See  Lenormant,  Monnaies 
et  m^dailles,  37 ;  see  also  Coins, 
Seals. 


84 


Index, 


Mediaeval  architecture,  in  Italy,  sec 
Boito,  Architettura  del  medio  evo 
In  Italia,  39;  optical  refinements 
in,  Goodyear,  41;  buildings  oi^  see 
Gailhabaud,  Monuments  anciens  et 
modernes,  41  ;  rise  and  develop- 
ment of,  Scott,  4<;;  cathedrals  and 
churches  of,  in  Spain,  see  Street, 
Some  account  of  Gothic  architect- 
ure in  Spain,  46;  influence  of  oop- 
ular  life  upon,  st\'  V'ioUet-lc-Duc, 
Histoire  d'un  hotel  de  ville  et  d'une 
cathedrale,  47. 

Mediaeval  arms  and  armour,  Boutell, 
49. 

Mediaeval  art,  Menard,  9;  Kunst  u. 
Kiinstler  des  Mittelalters  u.  der 
Neuzeit,  Dohme,  5;  Roman  and, 
Goodyear,  6;  schools  of,  Owen,  10; 
Kunstgeschichte  des  Mittelalters, 
Reber,  44;  see  also  Didron,  Manu- 
el d'iconog^raphie  Chretien,  22  ; 
Woltmann  rt^t/Woermann,  History 
of  painting,  37;  Maskell,  Descrip- 
tion of  ivories  in  South  Kensington 
Museum,  51. 

Mediaeval  Christianity,  Hemans,  25. 

Me^li^eval  costume,  Demay,  49. 

Mediaeval  music,  Hope,  R.  C,  60. 

Meissonier,  and  the  Salon  Julien. 
See  Moore,  Impressions  and  opin- 
ions, 29. 

Meistersinger  (Die).  See  Master- 
sing^ers  of  Nuremberg,  Benoit,  67, 
Heintz,  67,  Wagenseil,  68. 

Melani,  A.  O.,  43,  51. 

Menard,  R.,  9. 

Mendelssohn-Bartholdy,  Feli.^,  Lam- 
padius,  65;  see  also  Bitter,  Bei- 
trage  zur  Geschichte  des  Oratori- 
ums.  66. 

Menestrel  (Z.f\  73. 

Menta.     See  Jaccaci,  Italian  posters, 

25- 

Merson,  O.,  43. 

Merulo.  See  Winterfeld,  Johannes 
Gabrieli,  59. 

Mesnard,  L.,  28. 

Mesomedes,  hymns  of,  Bellermann, 
63;  see  aiso  Galilei,  Dialogo  della 
musica  antica  e  della  moderne,  57; 
Williams,  Music  of  the  ancient 
Greeks,  61. 

Mesopotamia,  art  in.  See  Tarbell, 
History  of  Greek  art,  13. 

Metal  work,  Sturgis,  53;  oriental,  see 
Babelon,  Archeologie  Orientale,  2; 
Russian,  see  Maskell,  Russian  art, 
8;  engraved,  see  Ruskin,  Ariadne 
Florentina,  34;  loan  collection  of 
plate  in  Fitzwilliam  Museum,  Fos- 
ter and  Atkinson,  50. 

Metaphysics  of  art.  See  Marshall, 
Esthetic  principles,  8. 

Metapontum.  See  Lenormant,  La 
Grand-Grt'ce,  8. 

Metre,  nature  of  harmony  and, 
Hauptmann,  69. 

Metropolitan  Museum.  See  La  Farge, 
Considerations  on  painting,  27;  col- 
lection of  musical  instruments  in, 
see  Brown  and  Brown,  61. 

Meyerbeer.  See  Apthorp,  Musicians 
and  music-lovers,  70. 

Michaelis,  A.,  43. 

Michel,  A.,  28  \  see  also  Proust,  L'art 
Fran9ais,  11. 

Michel,  E.,  28-2^. 

Michelangelo,  life  of,  Grimm,  6,  Har- 
ford, 7,  Symonds,  13,  Wilson,  14, 
Sweetser,  Artist  biog^raphies,  36,  see 
also  Story,  Excursions  in  art  and 
letters,  13;  relation  between  Tin- 
toret  and,  Ruskin,  34;  works  of,  see 
Goodyear,  Roman  and  medieeval 
art,  6. 

Michiels,  A.,  29. 

Middle  Ages.  See  Mediaeval  art,  ar- 
chitecture, costume.  Music. 

Middleton,  J.  H.,  9,  29,  43,  <^\\see  also 
Morris  and  Middleton,  44. 

Midgley,  W.  See  Lilley,  A.  E.  V., 
and  Midgley,  51. 

Milan,  history  of  painting  in,  from 
xiv.-xvi.  century,  Crowe  and  Ca- 
valcaselle,  20. 

Mi 'itary  architecture.  See  Essen wein» 
Die  Romanische  und  die  Gothische 
Baukunst,  40;  in  Scotland,  Macgib- 


bon  and  Ross,  43;  civil  and,  tee  Ro- 
hault  de  Fleury,  La  Toscane  au 
Moyen  A^e,  45. 

Military  painting,  historj'  of,  Alex- 
andre, 16. 

Mlllais,  ^'/V  John,  Chesneau,  18. 

Millet,  F.  D.,9. 

Millet,  Jean  Francois,  Cartwright,  18, 
Sensier,  33  ;  see  also  De  Lostalot, 
Chef  d'oeuvres  del 'art  au  xix.  si£;cle, 
21  ;  the  peasant  in  the  work  of, 
Roger-Miles,  33. 

Millington,  E.  J.     ^(v  Didron,  22. 

Miniature-  painting,  history  of  art  of, 
Propert,  32. 

Ministry  of  fine  art  to  the  happiness 
of  life,  Gambier,  5. 

Minor  decorative  arts  (department), 

Mitchell,  D.  G.,  2s,  43. 

Mitchell,  J.  A.,  9. 

Mitchell,  Lucy  L.,  29. 

Modelling  in  wax.  See  Propert,  His- 
tory of  miniature  art,  32 

Modern  Frenchmen,  Hameiton,  4. 

Modern  painters,  Ruskin,  33. 

Modern  painting,  Moore,  30. 

Modern  poster  (The),  29. 

Mohammedan  architecture,  Jtrc  Franz- 
Pascha,  Die  Baukunst  des  Islam,  41, 
Smith  and  Slater,  Architecture, 
classical  and  early  Christian,  .j6;  de- 
velopment of  Byzantine  art  in,  see 
Viollet-le-Duc,  L'art  Russe,  14. 

Mollet.  J.  W.,  29. 

Molmenti,  P.  O.,  9,  29. 

Monastic  orders,  legends  of,  Jameson, 
26. 

Monatsshe/te  /iir   Musikgesckzchte^ 

73- 

Mondonville,  de.  See  Rimbault,  Pian- 
oforte, 59. 

Monet.  See  Lecomte^  L'art  irapres- 
sionniste,  27. 

Money.     See  Coins. 

Monkhouse,  Cosmo,  ed.  See  Heaton, 
Concise  history  of  painting,  25. 

Monodic  style,  see  Galilei,  Dialogo 
della  musica  antica  e  della  moderne, 
57;  Kiesewetter,  Schicksale  u.  Be- 
schaffenheit  des  Weltlichcn  Ge- 
sanges,  58. 

Monteverde.  5^^ Kiesewetter, Schick- 
sale u.  BeschafEenheit  des  Welt- 
lichen  Gesanges,  58. 

Mont  Saint-Michel,  description  de 
I'abbaye  de,  Corroyer,  30. 

Monumental  brasses,  Macklin,  28. 

Monuments,  of  ancient  Athens,  Har- 
rison, 7  English,  jcv  Jewitt,  Half- 
hours  among  some  Eng.  antiquities, 
7;  of  Cairo,  Poole,  11;  stone,  tumuli^ 
and  ornaments.  Waring,  14;  ancient 
and  modem,  Gailhabaud,  41  ;  of 
Central  India,  Griffin,  41  ;  of  India, 
Le  Bon,  42;  lists  of,  see  Hamlin, 
History  of  architecture,  41;  of  many 
epochs,  see  Havard,  La  France,  42  ; 
of  Constantinople,  see  Grosvenor, 
Constantinople,  6. 

Monvel,  M.  Boutet  de,  Low,  28. 

Moody,  F.  W.,  9. 

Moore,  A.,  Baldry,  16;  see  also  Bell, 
Sir  Edward  Burne-Jones,  17. 

Moore,  C.  H.,  29,  43-44. 

Moore,  Geo.,  29-30. 

Mora  da  Hohenstein.  See  Jaccaci, 
Italian  posters,  25. 

Morelli,  Domenico,  Willard,  37. 

Morelli,  G.,  30. 

Morgan,  J.  P.,  trans.    See  Richter,  70. 

Morgan,  Mrs.  J.  P.,  trans.  See  Ru- 
binstein, 66. 

Morin,  L.,  30. 

Morland,  G.,  Richardson,  33. 

Mornings  in  Florence,  Ruskin,  34. 

Morris,  William,  9,  51 ;  ed.,  51 ;  and 
Middleton,  3c,  44. 

Morse,  E.  S.,  g;  see  also  Brooks,  Old- 
en time  music,  56. 

Mosaic,  Gerspach.  41,  Middleton,  51 ; 
early  Christian,  Muntz,  44. 

Moscheles,  I.,  ed.     See  Schindler,  66. 

Moslems.  See  Mohammedan  archi- 
tecture. 

Mount-Edgecumbe,  Earl  oj",  58. 

Mozart,  Holmes,  64,  John,  64,  Nohl, 
6=,  Oulibischen,  65,  see  aiso  Bom- 
bec.  Life  of  Haydn,  63;  Don  Giovan- 


ni of,  Gounod,  64;  story  of  Mozart's 
requiem,  Pole,  66. 
Muflat.      See    Rimbault,   Pianoforte, 

59- 

Muirhead,  J.  I.,  trans.  See  Helbip, 
Guide  to  the  public  collections  of 
classical  antiquities  in  Rome,  7. 

Miiller,  H.  A.,  15. 

Munich  Gallery.  See  Morelli,  Italian 
painters,  30. 

MUntz,  Eug.,  9-10,  30,  44,  52. 

Mural  decoration,  Morris  andM iddle- 
ton,  44. 

Mural  painting,  Crowninshield,  20-21; 
De  Champeaux,  Histoire  de  peint- 
ure  decorative,  21,  Morns  and  Mid- 
dleton, 30;  Greek,  jft' Murray,  Hand- 
book, 10;  in  Boston  Public  Libra- 
ry, Fenollosa,  22;  see  also  Havard, 
L'ceuvre  de  P.  V.  Galland,  25,  Co.t, 
Puvis  de  Chavannes,  Paul  Baudrj', 
20.  See  also  Frescoes,  Wall-paint- 
ing, Tempera. 

Munllo.  See  Sweetser,  Artist  biog- 
raphies, 36. 

Murray,  A.  S.,  10,  30;  see  also  Collig- 
non,  4. 

Murray,  C.  F.  See  Cole,  Old  Italian 
masters,  19. 

Muschhauser.  See  Rimbault,  Piano- 
forte, 59. 

Afusle,  73. 

Music  (department),  54-74. 

Music,  Parry,  72.  Banister,  73;  guide 
to  the  study  of,  Dickinson,  55;  his 
tory  of,  Ambros,  55,  Brendel,  55, 
Bumey,  55,  Forkel,  55,  Hawkins, 
55j  Henderson,  55,  Hunt,  5^-56, 
Kiesewetter,  56,  Langhans,  56,  Mac- 
farren,  56,  Naumann,  56,  Reissmann, 
56,  Rockstro,  56,  Wasielewski,  59; 
present  stale  of,  Bumey,  56-57 ; 
olden  time.  Brooks,  57;  ancient, 
Arends,  60;  ancient  and  modern, 
Galilei,  57;  ancient  and  national, 
Engel,  62;  Shakespeare  and,  Nay- 
lor,  58;  religious  poetry  and  church-, 
Schletterer,  59;  primitive,  Walla- 
schek,  63;  essays  upon,  Gretry,  64; 
structure  of,  Gow,  6q;  beautiful  in, 
Hanslick,  6q;  how  to  listen  to,  Kreh- 
biel,  70;  philosophy  of,  Pole,  70; 
studies  in  worship-,  Curwen,  70-71; 
studies  in  modern,  Hadow,  71;  five 
years  of,  Hanslick,  71;  purity  in, 
Thibaut,  72;  cyclopaedias  of,  Cham- 

glin  a «(/ Apthorp,  73,  Mendel  and 
Leissmann,  73,  Riemann,  73;  dic- 
tionaries of,  Clement  and harousse^. 
73,  Grove,  73,  Stainer  aW  Barrett? 
73.  See  also  Concerts,  Folk-music, 
Musical  instruments.  Musicians, 
Opera,  Oratorios,  Song;  for  music 
of  special  countries,  see  name  of 
country,  as,  American  music,  Brit- 
ish music,  English  music,  French 
music,  etc. 

Music-dealers,  catalogues  of,  74. 

Music  of  the  Bible,  Stainer,  61. 

Musical  acoustics,  Broadhouse,  6g. 

Musical  esthetics,  a  study  in,  Ambros,. 
69;  contribution  to  the  revival  of» 
Hanslick,  69. 

Musical  biography  (department),  63. 

Musical  Courier,  73. 

Musical  criticism  and  analysis  (de- 
partment), 70-72. 

Musical  drama,  Schure,  68. 

Musical  form,  theory  and  practice  of,. 
Cornell,  69,  Prout,  70. 

Musical  instruments,  Engel,  57 1 
French  of  the  Middle  Ages,  see 
Viollet-le-Duc.  Dictionnaire  rai- 
sonne    du    mobilier    Fran^ais,    53; 

Slayed  with  a  bow,  Heron-Allen, 
»e' fidiculis  bibliographia,  57,  Vi- 
dal,  Les  instruments  X  archet,  59, 
sec  also  Vidal.  Lutherie  et  lutiers, 
59;  Wasielewski,  Geschichte  der  In- 
strumentalmusik,59.  See  also  na.mGS. 
of  instmments,  as.  Lutes,  Organ, 
Pianoforte,  Violin,  Violoncello. 

Musical  science  and  aesthetics  (de- 
partment), 69-70. 

Musical  sketches  abroad  and  at  home, 
Ella,  71. 

Hfusnal Standard,  73. 

Musical  terms,  dictionary  of,  Stainer 
and  Barrett,  73. 


Judex. 


8S 


Musical  TimeSy  73,  see  also  Engel, 
62. 

Musici  Scriptores  Gmeci,  60. 

Musicians,  roll  of  names  of,  see  Mac- 
farren,  Musical  history,  56 ;  and 
music-lovers,  Apthorp,  70;  thoughts 
of  great,  La  Mara,  72 ;  music  and, 
Schumann,  72;  cyclopaedia  of  music 
and,  Champlin  and  Apthorp,  73, 
diet,  of,  Grove,  73.  See  also  for  col- 
lected and  individual  lives  of  mu- 
sicians, Bioyraphy  (department), 
63-67. 

Musikalisches  skizzenbuch,  Hanslick, 
7»- 

Musikalische  stationen,  Hanslick,  71. 

.\lusikalisches  H'ochenblati^  73. 

Muther,  R.,  30. 

Muzarabic  cnant.  See  Paleographie 
Musicale,  58. 

Mycenaean  age  (The),  Tsountas,  13; 
see  also  Perrot  awt/Chipiez,  Histoire 
de  I'art  dans  I'antiquite,  11. 

Myrbach,  de.  See  Niorin,  French  il- 
lu-.tratt>rs,  30. 

Mysticism  in  aichitecture,  Lethaby, 
8,  see  also  Ruskin,  Aratra  Penteiici, 
33-34  ;  in  art,  see  Gilchrist,  Life  of 
William  Blake,  23.  See  also  Sym- 
bolism. 

Naples  Museum,  the  spear-bearers  in. 
See  CcUignon,  Histoire  de  la  sculpt- 
ure Grecque,  19. 

Nation  {The).  See  Coffin,  3,  Hiatt, 
25,  Morin,  30. 

National  Association  for  the  Advance- 
ment of  Art  and  its  Application  to 
Industry',  transactions  of,  53. 

National  Gallery,  popular  handbook 
of.  Cook,  19  ;  new  pictures  m,  sec 
Moore,  Impressions  and  opinions, 
29. 

National  music,  folk-song  and,  (de- 
partment), 61-63. 

National  music,  introduction  to  the 
study  of,  Engel,  62. 

Natoire.  See  lilantz,  Fran9ois  Bou- 
cher, Lemoyne,  and  Natoire,  28. 

Naumann,  E.,  56. 

Naylof,  E.W.,  58. 

Nederlandsche  Tnstituut  van  Weten- 
schafen.  See  Kiesewettera«^  Fetis, 
Verhandeiingen,  58. 

Needlework,  as  an  art,  Alford, 
dictionary  of,  Caulfeild  a  nd 
ward,  49;  Lefebure,  Broderies  et 
dentelles,  51;  in  collection  of  church 
vestments,  South  Kensington  Mu- 
seum, j'fe-Rock,  52.  See  also  Tapes- 
try. 

Neitzel,  O.,  72. 

Nej-Germanic  school.  See  Brendel, 
Geschichte  dcr  Musik,  55. 

Ketherlands.artin  the,  Dohme,  Kunst 
u.  Kiinstler  dcs  Mittelalters  u.  der 
Neuzeit,  5  ;  Taine,  Lectures  on  art, 
13  ;  see  also  Ale.xandre,  Ecole  Fla- 
mande  et  Hollandaise,  15 ;  Cole, 
Old  Dutch  and  Flemish  masters,  19; 
Fromentin,  Old  masters  of  Belgium 
and  Holland,  22. 

Netherlands,  music  in  the,  Kiesewet- 
ler  and  Fetis,  Verhandelingen,  57; 
see  also  Reissmann,  Allegemeine 
Geschichte  der  Musik,  56;  present 
state  of,  Burney,  56-57. 

Netting.  See  Walker.  Varied  occu- 
pations in  stringwork.  53. 

Nettleship,  H.,  ed.     See  SeylTert,  15. 

iVeue  Akadeittie  der  Tonkunst.  See 
Langhans,  History  of  music,  56. 

Neville,  R.,  44. 

New  England,  colonial  furniture  of, 
Lyon,  51 ;  early  history  of  music  in, 
see  Brooks,  Oldcn  time  music,  56  ; 
musical  culture  in,  .^t-t-  Perkinsn«(^ 
Dwight,  History  of  the  Handel  and 
Haydn  Society  of  Boston,  58. 

Newberry  Library,  musical  depart- 
ment.    See  Prefator>'  note,  55. 

Newhall,    B.,   trans.      See  Tsountas, 

Newman,  E.,  65. 

Newman,  Miss  S.  E.     See  Fletcher, 

Study  of  Omaha  Indian  music,  62. 
Newmarch,  Rosa,  trans.    See  Deiters, 

64. 
Nibelungen    Lied;    see    Riag  of  the 


fa: 


Nibelung,  Dippold,  67,  Wolzogen, 

68. 
Nickerson,  M.  P.,  trans.     See  Gonse, 

L'art  Japonais,  6. 
Nicod^.      See  Fuller-Maitland,   Mas- 
ters of  German  music,  64. 
Nicomachus,    on   music;   see    Musici 

Scriptores  Grxci,  60. 
Niecks,  F.,  65. 
NiEgli,Iifeof  Schubert  by.   .Stv  Frost, 

Life  of  Schubert,  64. 
Nimcs,  buildings  of  the  Roman  times 

and  Middle  Ages  in.     See  Macgib- 

bon,  Architecture  of  Provence  aad 

the  Riviera,  43. 
Nohl,  L.,  65. 
Normans^  Freeman,  41. 
Norton,  C.  E.,  10,  see  also  Ruskin,  12, 

33.  45- 
Notation,  historical  stories  of,   Rie- 

mann,  59. 
Notes  of  travel  and  study  in  Italy, 

Norton,  10. 
Nottebohm,  G.,65j  see  a/j<»  Ambros, 

Geschichte  der  Musik,  55;  ed.^see 

Beethoven,  63. 
Numismatics.     See  Coins. 
Nuremberg,  city  of,  Wagenseil,  68. 

Offenbach,  See  Apthorp,  Musicians 
and  music-Iovei  s,  70. 

Old  masters,  Dutch  and  Flemish, 
Cole,  19  ;  Italian,  Cole,  19  ;  of  Bel- 
gium and  Holland,  Fromentin,  22. 

Olden  time  music,  Brooks,  56. 

Olympia,  discoveries  at,  see  Gardner, 
New  chapters  in  Greek  history,  5  ; 
sculpture  of  the  temple  of  Zeus  at, 
see  (JoUignon,  Histoire  de  la  sculpt- 
ure Grecque,  10. 

Opera,  Streatfe'ld,  72,  Upton,  72;  his- 
tory of,  Fink,  57,ievrt/j(7Schletterer, 
Das  Deutsche  Singspiel,  59  ;  begin- 
nings of,  Celler,  57,  see  also  Kiese- 
wetter,  Schicksale  u.  Beschaffenheit 
desWeltl'chen  Gesanges,  58;  Italian, 
Arteaga,  56  ;  ii.  London,  Mount- 
Edgecumbe,  f;  in  Italy,  France, 
Germany,  and  England,  Hogarth, 
57;  modern,  Hanslick,  71;  Pfohl,  72; 
guide  to  German,  Neitzel,  72;  dic- 
tionary of,  Clement  and  Larousse, 
73;  Rieman,  Opern-Handbuch,  73; 
see  also  Edwards,  Lyrical  drama, 

Optique  (L')  et  les  arts,  Laugel,  8. 

Oratorio  Society  of  New  York,  Kreh- 
biel,  58. 

Oratorios,  contributions  to  the  history 
of,  Ritter,  Beitrage  zur  Geschichte 
des  Oratoriums,  56  ;  standard,  Up- 
ton, 72. 

Orchardson,  W.  Q.   Armstrong,  16. 

Orchestra,  and  how  to  write  for  it, 
Corder,  69 ;  of  the  xvi.  centur>', 
see  Celler,  Les  origines  de  1 'opera, 

57- 

Orchestration,  instrumentation  and, 
Berlioz,  69. 

Organs  and  organ-building,  Edwards, 
57;  history  of,  Hopkins  and  Rim- 
bault,  57-58. 

Oriental  antiquities,  Babelon,  2. 

Oriental  architecture.  See  Fergus- 
son,  History  of  Indian  and  Eastern 
architecture,  41.  See  also  Byzantine 
architecture. 

Oriental  art.     See  Byzantine  art. 

Oriental  music.  See  Ambros,  Ge- 
schichte der  Musik,  55. 

Ornaments,  stone  monuments,  tumuli 
and  ornaments  of  remote  ages, 
Waring,  14  ;  prehistoric  and  sa\age 
of  our  own  time,  see  Balfour,  Evo- 
lution of  decorative  art,  48. 

Or\'ieto  Cathedral.  iVvNoitnn,  Notes 
on  trr-vel  and  study  in  Italy,  10. 

Osier.  W.  R.,  30. 

Otranto.  See  FreemaOj  Sketches  from 
the  subject  and  neighborlands  of 
Venice,  41. 

Oulibischeflf,  A.,  65. 

Ouseley,  J\cv.  Sir  F.  A.  G.,ed,  See 
Naumann,  56. 

Overbeck,  J.,  33;  Antiken  Schrift- 
quellcr  zur  Geschichte  dcr  bilden- 
den  Klinste  bci  den  Griechen,  see 
Jones,  26. 

Owen,  A.  C,  10. 


story  of  painhnc:  in,  froi 
XIV.  to  XVI.  ccnlu'y,  Crowe  and 
Cavalcosclle,  20;  Giolto  and  his 
works  in,  Kuskin,  33. 

Paine,  J.  K.,  ed.,t^. 

Painters,  Vasari.  13-14,  Bryan,  14, 
James,  .4;  Veneiian,  Berenson,  17, 
Scott,  34;  Florentine,  Berenson,  17; 
Flemisli,  Crowe,  20;  murai.  Cox,  lo; 
Venetian  and  Florentine,  Hercn^on, 
17;  Italian^  Jameson,  26,  Morelli.30, 
Scott,  34;  English,  Buxton,  see  Pi  yn- 
ter,  31;  American,  K()ehlcr,j-ft'  Bux- 
ton, 31  {iinder  Poyntcr);  a  century 
of  English,  Redgrave,  R.  and  S., 
32;  modern,  Kuskin,  33;  famous, 
Shcdd,  35.     See  also  Artists.  i 

Painters'  camp  (The).  See  Hamerton, 
Thoughts  about  an,  7. 

Painting  and  sculpture  (department), 
15-38. 

Painting,  Reid  32,  Sturgis,  36;  Fiirs- 
ter,  Denkmale  oeutscher  Baukunst, 
Bildnerei  und  Malerei  v.  Einfvihr- 
ung  des  Christenthums  bis  auf  die 
neuste  Zeit.  5;  from  nature,  see 
Hamerton,  Thoughts  about  art,  7; 
lectures  on,  Ruskin,  12;  Bayet,  La 
peinture  et  la  sculpture  Chretienne 
en  orient,  16;  English, Chesneau,  18; 
a  work  about.  Coffin,  19;  history  of,, 
in  Italy,  Crowe  and  Cavalcaselle,. 
zo,  Lanzi,  27,  Stendhal,  35 ;  his- 
tory of,  Heaton,  25,  Mutner,  30, 
Vandyke,  36,  Woltmannrtwrt' Woer- 
mann,  37,  see  also  Poynter,  32;. 
considerations  on,  La  Farge,  27;  in 
Europe,  Lafenestre  ««(/  Richten- 
berger,  27;  century  of.  Low,  38; 
schools  of,  Middleton,  29;  modern, 
Moore,  30;  classical  and  Italian., 
Poynter  rfwd'Heath,  31;  French  ana 
Spanish,  Smith,  31;  German,  Flem- 
ish, and  Dutch,  Buxton  and  Poyn- 
ter, 31;  schools  and  masters  of,  Rad- 
clifle,  32;  technical  beauties  of,  see 
Van  Dyke,  Art  for  art's  sake,  36;- 
decoralive.  Crane,  see  Morris,  Arts 
and  crafts  essays,  51-52.  See  also- 
names  of  countries,  cities,  and  ar- 
tists, and  of  special  schools  of  paint- 
ing, as  Landscape  painting,  Plural 
painting,  Renaissance,  Sacred  art^ 
etc. 

Paladhile.  See  Hervey,  Masters  of 
French  music,  64. 

Palazzo  Publico  of  Siena,  measured 
and  pictorial  drawings  of,  see  Ro- 
hault  de  Fleury,  La  Toscanc  au 
Moyen  Age,  45. 

Palazzo  Vecchio,  at  Florence,  meas- 
ured and  pictorial  drawings  of.  See- 
Rohault  de  Fleur>-,  La  Toscane  au 
Moyen  Age,  45. 

Paleographie  ^lusicale,  58. 

Pak'ologue,  ^L,  10. 

Palestrina,  Giovanni  Pierluigi  da, 
Baini,  63,  Kandler,  64-65;  capella 
style  of,  see  Ambros,  Geschichte  der 
Musik,  55. 

Palgrave,  F.  T..  10. 

Palissy,  Bernard,  Burty,  49. 

Palliser,  Mrs.  B.,  52. 

Palmer,  See  Wedmore,  Etching  in 
England,  37. 

Palustre,  L.,  44. 

Pap  worth.  W.,  44;  reviser  y  see  Gwilt, 
Encyclopaedia  of  architecture,  41. 

Paravicini,  T.  V.,  10,  and  Selvatico, 
12. 

Paris,  P.,  30. 

Paris  Exposition,  fine  arts  at,  Coffin, 

Paris,  opera  house,  see  Chesneau,  Le 
statuaire  J.  B.  Carpeaux,  18;  arc  dc 
I'Etoilc,  see  Mangeant,  Antoine 
Etex,  28 ;  fights  before,  see  Marx, 
Henri  Regnault,  28, 

Parisian  art  and  artists.  Bacon,  16. 

Parker,  J.  H.,  44,  and  Turner,  T.  H.» 
44. 

Parma,  frescoes  of  Corrcggio  in,  see 
Ricci,  Correggio,  32-33. 

Parry.  C.  H.  H.,  72  ;  see  also  WiUcby, 
Masters  of  English  music,  67. 

Parsifal,  Wagner's,  Kuflferath,  68; 
guide  through  the  music  of,  wolzo- 
gen, 68  ;  see  also  Schurd,  Le  drame 
musical,  68. 


S6 


Index. 


Parsons,  S.  P.,>/-.,  25,  44. 
Parlhenon,  Michaelis,  43  ;  curvature 

of  Ihe  slylobalc  and  architrave  of, 

see  Ooodycar,  Ontical  refinements 

in  raedixval  architecture,  41. 
Passion  plays  of  the  \iii.  to  the  xvii 

century.       See     Schletterer,      Das 

Ueutschc  Sini;spiel,  ea. 
Pater,  Walter,  10. 
Pattlson,    ,)/ri,    M.,    10,   31;   see  also 

Ullke,  Laiiy^  5, 
Pauer,  E.     See  Elterlein,  71. 
Paul,  O.,  60;  see  also  Prefatory  note, 
n^-l-      . 
h-ausanius.    See  Harrison,  Mytholoijy 

and  monuments  of  ancient  Athens 


Paysage.     See  Landscape. 

Paysan.     See  Peasant. 

Pearson,  A.  See  Symonds,  Renais- 
sance in  Italy.  1 ). 

Peasant  in  the  works  of  J.  F.  Millet 
Royer-Miles,  33,  ' 

Peck,  H  T.,e,l.  See  Harper's  diction- 
ary of  classical  literature  and  an- 
tiquities, 14. 

Pen-artists,  English,  nf  to-day.  Har- 
per, =4. 

S  '''■''.^'"S  =""1  pen  draughtsmen, 
1  ennell,  31  ;  Sainbourne's  unique 
system  of,  see  -Spielman,  History  of 
Puiuh,^^.  .SVfa/i-,.  Black  and  white 
Book  illustration,  Illustration,  Illus- 
trators. 
Pencz.     See  Scott,  The  little  masters, 

35. 
Pennell,  J.,  31. 
Perate,  And     10. 

Pen       See    Kiesewetter,     Schicksale 
und  Beschaffenheit  des  Welti ichen 
Gesangs,  58. 
Pericles.     See  Collignon,  Histoire  de 

la  sculpture  Grecque,  ig 
Perkins,  C.  C,  31,  and  Dwight,  J,  S,, 

58. 
Perkins,  Emma  R.,  trans.   See  Diehl 

Excursions  in  Greece  5 
Perrot,  G.,  ««,/ Chipiez,  C.,  ,0-11. 
Perry,  W.  C,  31. 
Persia,  antiquities  ot.     See  Babelon, 

Arch^ologie  orientale,  2. 
Persian  art,  Gayet,  6,  Smith  tj. 
Persian  music.     See  Kiesewetter,  Die 

Musik  der  Araber,  62. 
Persian  pottery.    See  Fortnum,   De- 
scriptive catalogue,  50. 
Petrie,  W.  M.  F.,ii,\l. 
Pfohl,  F.,  72. 

Phidias.     See    Story,    Excursions    in 
art  and  letters,  13;  Collignon,  His- 
toire de  la  sculpture  Grecque,  ig; 
Murray,  History  of  Greek  sculpt- 
ure, 30. 
Philharmonic  Society  of  New  York 
memorial  of   the    fiftieth    anniver' 
sary  of  the  founding,  Krehblel,  58. 
Phillips,  C,  31. 
Philosophy  of  art,  Tame,  13. 
Philosophy  of  music,  Pole,  70. 
Phoenicia,  history  of  ancient  art  in 
Perrot  and  Chipiez,  11.  ' 

Phrygia,    history  of  ancient  art    in, 

Perrot  an.l  Chipiez,  11. 
Pianoforte,  description  and  history  of 
and  of  the  older  keyboard  stringed 
instruments,  Hipkins,  57;  music 
Fillmore,  57 ;  origin,  progress,  and' 
construction,  Rimbault,  59;  playing 
and  literature, Weitzman,  ,9:  sonatas 
for,  Shedlock,  59:  esthetics  of,  Kul- 
lak,  70. 
Pictures,  old-fashioned  historical,  see 
Dargenty,  Le  Baron  Gros,  21;  how 
to  judge.  Van  Dyke,  36  ;  emancipa- 
tion of,  Hallward,  see  Transactions 
of  the  National  Association  for  the 
Advancement  of  Art,  53. 
Pisa  Cathedral,  bronze  doors  of.     See 

Desjardins,  Jean  Bologne,  21. 
Pissaro.     See  Lecomte,  L'art  impres- 

sionniste,  27. 
Plaidy,  piano  method  of.    See  Kullak 

70. 
Planchi?,  History  of  British  costume 

See  Prefatory  note,  48. 
Plans.     i'.Jf  Maps  and  plans. 
Plant    form,  studies    in,   Lilley  ami 

Midgley,  51. 
Plaster  casts.    See  Casts. 


Plate,  Middleton,  51;  illustrated  cata- 
logue of,  in  the  Fitzwilliam  Museum, 
roster  (!//,/■  Atkinsim,  so. 
Piatt,  C.  A.,  44.  ^ 

Plutarch  upon  music,  Westphal,  61 
Poetry  Walts,  14;  Homeric,  .v.v  Gard- 
ner, New  chapters  in  Greek  history 
s:    music  and  the    boundaries  of. 
Ambros,  69. 
Pohl,  C.  F.,66. 
Pole,  W.,  66,  70 
Pollard,  A.  W.,  31 
Pollen,  J.  H.,  S2. 

Polyphony,  first  efforts  in.     See  Reiss- 
mann,  AUgemeine  Geschichte  der 
Musik,  56. 
Pompadour    interiors.       See    Mantz 
Francois  Boucher,  28.  ' 

Pompeii,  archaeological    rambles  in, 
Boissier,  3.  * 

Poole,  R.L.,  66. 
Poole,  S.  L.,  II. 

Porcelain,  Sturgis,  53 ;  of  the  United 
States,   Barber,  48:  of  China,   Du 
Cartel,   49:    history    of,    medieval 
and   modern,   Marryat,   51 ;    of   all 
times  and  nations.  Prime,  52.     See 
also  Ceramics,  Pottery 
Porl/olio(rhe),iv. 
Port/olio    monographs :    Armstrong, 
Art  of  W.  Q.  Orchardson,  16,  An 
of  Velasquez.  16,  Life  of  Velasquez 
16,  Gainsborough.  ,6;  Cartvvright, 
Jules  Basticn-Lepage,  18,  Raphael, 
18 ;    Cundall,   Durer's   engravings 
21  ;  Destri'e   Renaissance  of  sculpt- 
™^   i"     Belgium,    21  ;     Grahame, 
Claude    Lorrain,  2,  ;    Phillips,    An- 
tome  Watteau,  31,  Frederick  Wrll.-- 
'^'''  5'^;  Px^'ure  gallery  of  Charles  I., 
3.1;   Pollard,  Italian    book  illustra- 
tions, 31:  Stephens,  Dante  Gabriel 
Rossetti,  35. 
Portrait  painting.  Sec  Hamerton,  Man 

in  art,  24. 
Portraits,  of  Medicean  dukes  of  Mi- 
chael-Angelo,i.-,-  Goodyear.  Roman 
and  mediaeval  art,  6;  of  sovereigns 
j£-f  Lecoydel:!  Marche,  Les  sceaux' 
27  ;  of  Washington,  see  Mason,  Life 
and  works  of  Gilbert  Stuart,   28  • 
of  Marshall  Prim,  see  Marx,  Henri 
Regnault,  2S  ;   medallion,  see   Pro- 
pert,  32  ;  of  Charles  V.,  Ferdinand, 
King  of  the  Romans,  and  John  of 
Lejden,  see  Scott,  The  little  mas- 
ters, 33. 
Portugal,  architecture  of  the  Renais- 
sance in.     &v  Haupt,  Baukunst  der 
Renaissance,  42. 
Posters,  French.  Alexandre,  15;  Amer- 
ican,  Bunner,  18;  picture,    Hiatt 
25;    Italian,  Jaccaci,  25;    modern, 
see   Modern   poster  (The),  29  ;  and 
poster  designing  in  England,  Spiel- 
man,  35.  ^ 
Pottery,  Sturgis,  53,-  old  English,  see 
Jewitt,     Half-hours    among    some 
tnglish  antiquities,  7;  and  porce- 
lain of  the  United  States,  Barber 
48;   history  of  ancient.    Birch.   48 
see  also  Deck,  La  fa  ence,  49  ■  De- 
scriptive catalogue  of,  Fortnum,  50; 
dictionary  of,  itr  Gamier.  Diction- 
nairede  la  cSramique,  50:  and  por- 
celain,   Marryat,     5,      Prime     52  , 
Greek,    Rayet  and  Collignon,  52; 
see  also  Alexandre,  Jean    Carries 
48;  Burty,  Bernard  Palissy,  49. 
Pougin,  A.,  66. 

Poynter,    E.    J.,    3,;  and  Head,    31; 

and  Buxton,  3t ;  a,td  Smith,  45-46. 

i^raeger,  Y  .,  trans.    See  Naumann,  tfi. 

Pre-Christian  music.     See  Reissmarin, 

Allgememe  Geschichte  der  Musik 

Prtkiurseurs      de      la      Renaissance, 
Muntz,  10. 

Preludes  and  studies,  Henderson,  72. 

Pre-Raphaelitism,  Ruskin,  33;  see  also 
Rossetti,  Fine  art,  12;  Ruskin,  Lect- 
ures on  architecture  and  painting 
12;  Bell,  .y,>  Edward  Burne-Jones,' 
17:  Sharp,  Dante  Gabriel  Rossetti 
35  ;  Wood,  Dante  Gabriel  Rossetti. 

Price,  B.,  25,  44. 

Prideaux,  S.  T.,  52. 

P'ima  donna  (The),  her  history  and 


surroundings  from  the  xvu.  to  the- 
XIX.  century,  Edwards,  57. 
Pnme,  W,  S.,52. 
Primitive  music,  Wallaschek,  63 
Prints,  Japanese,  see  Anderson,  Jap- 
anese  wood-engravings,   16;   early 
Italian,   Fisher,   22;  Durer's,  Eph- 
russi,  22;  Blake's,  .r<-<-  Gilchrist,  2v 
a"  Dyxk  s,Guiffrey,2j-24;ancient, 
see  Haden,  About  etching,  24  ;  of 
hine   Arts  Society,  see  Haden,  i-- 
introduction  to  the  study  and  col.' 
lection    of    ancient,   Willshire    37- 
see  also  Beraldi,  Les  graveurs  du 
di.x-neuvii-me    siccle,    ,7;    Ruskin, 
J  wo  paths,  12,  Ariadne  Florentina 
34.    ,Sfe?  fl/j(?  Etchings.  ' 

Prior    E.  S.    See  Morris,  Arts   and 

crafts  essays,  51-52. 
Propert,  J.  L.,  32. 
Proust,  Ant.,  n. 

Prout,  E.,  70,  see  also  Holmes,  f^x. 
Provence,  architecture    of,    Macgib- 

bon,  43.  ^ 

Prudhon.    .See  De  Goncourt,  L'art  du 

xviii.  siecle,  4. 
Pub.ishers,  music  catalogues  of.  74 
Puccini.     See  Streatfeild,  Masters  of 

Italian  music,  66. 
Pullan,    R     P.     .s„   Texier,    C,  and 

Pullan,  46. 
Punch,  history  of,  Spielman.  35, 
Purcell.  Cummings,  64  ;  see  also  Rim- 
bault, Pianofoite,  59. 
Puriati.     See  Jaccaci,  Italian  posters 
„25-  ' 

Puvis   de    Chavannes,   Cox,   20-    see 
<i/m>  Morin,  French  illustrators',  30. 
1  yie,  H,     See  Smith,  American  illus- 
trators, 35. 

Quarnero  (The).     See  Jackson,   Dal- 
matia,  the  yuarnero  and  Istria,  42. 

Racinet,  A.  C.  A.,  =2 

Radclifle,  A.  G,,32. 

Ramann,  L..  66;  trans.,  see  Liszt,  62 

Ramee,  D.,  44.  '      ' 

Ramsay,  W.,  n. 

Raphael,  Harford,  7,  Cartwright.  18 
Crowe  a  «</Cavalcaselle,  20,  Karoly, 
26,  Muntz,  30;  see  also  Sweetser, 
Artist  biographies,  36. 

Rational  building,  Huss  42 
Rayet,  O.,  a,,,,- Collignon,  M.,  52. 
Realism  in  fine  art,  Sturgis,  15 
Reber,  F.  von,  44. 
Redende  Kunste  iDle).  7j 
Redford,  G.,  32. 
Redgrave,  G.  R.,  31. 
Redgrave,  R.  and  S.,  32. 
Rees,  J.  R.,  ,2. 

Regnault,  H.,  Marx,  28;  j«a&<, Blanc, 
Artistes  de  mon  temps,  3;  De  Los- 
talot,  Les  chefs  d'ceuvres  de  l'art 
du  .x-ix.  si^cle.  21 ;  Hamerton,  Mod- 
ern h  renchmen.  2.1 

Reid,G.,32. 

'*?'°1,''""«'."-.,  ^"^  Ambros,  Geschich- 
te der  Musik,  55. 
Reinach,  S.,  11,  32 
Reinicke.     Av  FuUer-Maitland,  Mas- 

ters  of  German  music,  64. 
Reissmann,  A     56,  58-59,  66;  see  also 

Mendel  rt,„/  Reissmann.  73 
Religious  art,  Hamerton,  24.    .'eealso 

Christian  art.  Sacred  art. 
Religious  poetry,  and  music,  Schlet- 
terer,  Geschichte    der  Geistlichen 
Dichtung  u.  Kirchlichen  Tonkunst, 
59- 
Rembrandt,   Michel,    28-29.   Mollett, 
29,  \  osmaer,  37,  see  also  Sweetser, 
Artist  biographies,  36;  etched  work 
ot,  Haden,  24;  etchings  of,  Hamer- 
ton, 24. 
Remington,  F.    See  Smith,  American 

illustrators,  35. 
Renaissance  (The),  and  modern  art, 
Goodyear,  6;  in  France,  De  La- 
borde,  4  Pattison,  10:  in  Italy  and 
l-rance,  Muntz,9;  in  Italy,  Frizzoni, 
5,  Pattison,  10,  Symonds,  13,  Gruy- 
er,Les  oeuvres  d'art  de  la  Renais- 
sance Itahenne  au  Temple  de  Saint 
Jean,  6,  Muntz.  Histoire  de  l'art 
pendant  la  Renaissance.  Les  pr^- 
cijrseurs  de  la  Renaissance.  10;  see 
also  Molmenti,  La  vie  privee  it  Ve- 


Index. 


87 


nise,  Q,  Vischer,  Luca  Signorelli  u. 
die    Italienische    Renaissance,    37; 


V^enetian  and  Florentine  painters 
of,  Berenson,  17;  sculpture  of,  Scott, 
34;  painting  of,  Woltmann  and 
Woermann,  37;  architecture  of,  Pa- 
lustre,  44,  Smith  ami  Poynter,  4^- 
46;  in  Portuf^al,  Haupt,  42;  and 
Baroque,  Wulfflin.  Renaissance  und 
Barock,  47;  see  also  Molmenti,  Car- 
paccio,  29;  Muntz,  Donatello,  30; 
Pollard,  Italian  book  illustrations, 
31;  Scott,  Fra  Bartolommeo,  34. 
Renan,  A.,  52. 
Keyer.      See     Hervey,     Masters    of 

French  music,  64. 
Reynolds,  Sir  Joshua,  Chesneau,  18, 
Pnillips,  31;  see  also  Sweetser,  Ar- 
tist biographies,  36. 
Rheinberger.      ^V^    Fuller-Maitland, 

Masters  of  German  music.  64. 
Rhode   Island   houses,  early,   Isham 

and  Brown,  42. 
Rhodian  ware,  Fortnum,  50. 
Rhys,  E.,  ^2. 
Riafio,  J.  F.,  52. 
Ricardo,   H.     See  Morris,   Arts  and 

crafts  essays,  51-52. 
Ricci,  C,  32-33- 
Richardson, .R.,  33. 
Richelieu,  Ktudes  d'art  et  d'histoire 
de  Part  Fran9ais  au  temps  au  Rich- 
elieu et  Mazarin,  Lemonnier,  8. 
Richtenberger,    E.      See    Lafenestre, 

G.,  ami  Richtenberger,  27. 
Richter,    E.    F.,   70;   see   also   Broek- 

haven,  69. 
Richter,  J.  P.,  33. 
Riemann,    H.,   59,   73;  see  also   Kul- 

lak,  70;  trans. y  Gevaert,  60. 
Rimbault,    E.   F.,    59;   see  also    Hop- 
kins, E.  J.,  ami  Rimbault,  57-58. 
Ring  of  the  Nibelung.  Wagner's,  Dip- 
pold,  67;  guide  through  the  music 
of,  Wolzogen,  68. 
Rio.  A.  F.,  33. 

Ritter,  Fanny  R.,  trans.     See  Schu- 
mann, 72. 
Ritter,  Frederic  L.,  59. 
Riviera,  architecture  of  the,  Macgib- 

bon,  43. 
Roba  di  Roma,  Story,  13. 
Robinson,  E.,  52. 
Robinson,    T.     See    Modern    French 

masters,  29. 
Robinson,  W.,  44-45. 
Rock,  /Vrv  Rev.  Dr.,  52. 
RockstrcW.  S.,56,  66. 
Rococo.     See  Mantz,   Francois  Bou- 
cher, 28,    Thirion,    Les    Adam  et 
Clodion,     36 ;      Renaissance     and, 
Wiilfflin,  47. 
Rodin.     See  Lecorate,  L'art  impres- 

sionniste,  27. 
Roger-Miles,  L.,  33. 
Rohault   de    Fleury,  G.,  45;  see  also 
Clement,  Handbook  of    legendary 
and  mythological  art,  19. 
Roman  antiquities.     See  Rome. 
Rtiman  architecture,  Durm,  Die  Bau- 
fcunst  der  Roemer,  40;  Essenwein, 
Die  Ausgange  der  classischen  Bau- 
kunst,  40;  see  also  Smith  and  Slater, 
Architecture,    classical    and     early 
Christian,  46. 
Roman  art,  Goodyear,  6;    literature 

in  relation  to.  Burn,  3. 
Roman  literature  in  relation  to  Roman 

art.  Burn,  3. 
Roman  music.     See  Reissmann,  AII- 
gemeine  Geschichte  der  Musik,  56. 
Roman  pottery,  Birch,  48;   vases  in 
the  Boston  Museum,  Robinson,  52. 
Roman  sculpture,  Reinach,  32,  Red- 
ford,  32. 
Romanesque  architecture,  Corroyer, 
L'architecture  Romane,  39  ;  Essen- 
wein,    Die    Romanische    und    die 
Gothische   Baukunst,   40;   Jackson, 
Dalmatia,  the  Quarnero  and  Istria, 
42. 
Romantic  school  of  music.    See  Lang- 

hans,  56. 
Rome,  archeology  of,  Helbig  and 
I -xnciani,  7  ;  Manuel  d'archeologie 
Etrusque  et  Romaine,  Martha,  8; 
manual  of  Roman  antiquities,  Ram- 
say a'/d' Lanciani,  11;  and  Pompeii, 
Boissier,  3;  ancient,  and  its  neigh- 


borhood, Burn,  3:  history  of  the  de- 
struction of,  in  the  light  of  recent 
discoveries,  I.ancianI,  7-8  ;  remains 
of  ancie  U,  Middletnn,  9,  30  ;  pugan 
and  Christian,  Lanciani,  8;  Chris- 
tian, Frolhingham,  5;  of  to.<iay  and 
yesterday,  Dennic,  4  ;  walks  in, 
Stendhal,  12. 

Root,  J.  W.,  25,  45. 

Rore,  C.  de.  See  Wir.tcrfeld,  Johan- 
nes Gabrieli,  59. 

Roscoe,  T.,  trans.  Sec  Cellini,  Ben- 
venulo,  3. 

Rosenberg,  A.,  12. 

Rosengarten,  A.,  45. 

Ross,  T.  See  iVlacgibbon,  D.,  and 
Ross,  43. 

Rossel,  Airs.y  trans.  See  Wauters, 
Peinture  Flamandc,  37. 

Rossetti,  D.  G.,  Sharp,  35,  Stephens, 
35,  Wood,  37;  see  also  Rossetti,  W. 
M.,  12. 

Rossetti,  W.  M.,  12. 

Rossiniand  the  modern  Italian  school, 
Edwards,  64  ;  see  also  Fink,  Wcsen 
u.  Geschichte  der  Oper,  57. 

Rouai.x,  P.,  52-53. 

Rousseau,  Tht-odore,  Coffin,  19. 

Rubens,  Peter  Paul.  See  Gilbert, 
Landscape  in  art,  23. 

Rubinstein,  66. 

Rude,  F.,  Hcrtrand,  17;  see  also  Ham- 
erton,  Modern  Frenchmen,  24. 

Rudler.  F.  W.,  53. 

Ruskin,  J.,  works  of,  12,  33-34,  45  ; 
ed.^  see  Owen,  Art  schools  of  medi- 
eval Christendom,  10;  studies  in. 
Cook,  4 ;  work  of,  Waldstein,  14  ; 
see  also  Cook,  Popular  handbook  of 
National  Gallery,  19,  Chesneau,  La 
peinture  Anglaise,  18. 

Russian  art.  Maskell,  8,  Viollet-le- 
Duc,  14  ;  influence  of  Byzantine  on, 
see  Bayet,  L'art  Byzantm,  3. 

Russian  music,  Istomin  ami  Lutsh, 
62. 

Rustic  school.  See  Hamerton,  Pres- 
ent state  of  fine  art  of  France,  7. 


SaalschUtz,  J.  L.,  60-61. 
Sabme.  H.,  45. 

Sacred  art,  history  of  mediaeval  Chris- 
tianity and,  Hemans,  25  :  Hopfner, 
Die   Heiligen  in   der    Chrisllichen 
kunst,  25;  and  legendary  art,  Jame- 
son, 26.     See  also  Christian  art,  Re- 
ligious art. 
Sacred  buildings,  adornment  of,  see 
Gambier,    Ministry   of    tine   art,    5. 
Lindsay,  Sketches  of  the  history  of 
Christian  art,  27,    Butler,  Ancient 
Coptic  churches  of  Egypt,  39.     See 
also  Cathedrals,  Churches. 
St.    Gall,    singing    school   of,   Schu- 
berger,  61  ;  see  also  Paleographie 
Musicale,  58,  Gevaert,  60,  Lambil- 
lotte,  60. 
Sainl-Germain-en-Layc,  Museum  of. 
See    Reinach,     Antiquities    nation- 
ales,  ir. 
St.  John,  Temple  of.     .SW-  Temple  of 

St.  John. 
St.  Mark's  rest,  Ruskin,  ^4. 
St.   Nicholas.     See   Century  gallery, 

18. 
St.  Paul's  Cathedral,  history  of,  Long- 
man, 43;  see  also  Armstrong,  Alfred 
Stevens,  16. 
St.    Petersburg.      See   Atkinson,  Art 
tour  to  northern  capitals  of  Europe, 
2. 
Saint-Saif'ns.     See  Hcr\'ey,  Masters  of 

French  music,  64. 
St.  Sophia,  church  of,  Lethaby  and 
Swainson,  42;  see  rt/j(7tSalzenberg, 
45. 
Saints,  stories  of,  in  art,  Clement,  19; 
see  also  Jameson,  Sacred   and  leg- 
endary art,  26. 
Salvator  Rosa.      See  Gilbert,   Land- 
scape in  art,  23. 
Salvayre.     See    Hervey,    Masters   of 

French  music,  64. 
Salzenberg,  W.,  4";. 
Sambourne,   L.     See  Spielman,   His- 
tory of  Punchy  35. 
Sanderson.   C.    See  Morris,  Arts  and 

crafts  eisays,  5*"52- 
Sandys,  J.  E.,  ed.    See  Seyffcrt,  15. 


Santa  Croce.  See  Ruskin,  Mornings 
in  Florence,  34. 

Saricen  art  in  Egypt,  Poolc,  11, 

Sardinia,  h'slory  of  ancient  art  in» 
Perrot  and  Chipiez,  ti. 

Sargent,  J.  S.  See  Fenollo^a,  Mural 
nainling  in  the  Boston  Public  Li- 
brary, 22. 

Sarto, 'Andrea  del,  Scott,  34. 

Sartoris.    See  Jaccaci,  Italian  posters, 

25- 

Saunicr,  C,  3<. 

Savonarola,  Harford,  7. 

Saward,  B.  C.  See  CauUcild  and 
Saward,  49. 

Savce,  A.  H.,  12;  ed.^  see  Maspero^ 
Dawn  of  civilization,  9. 

Scandinavia,  industrial  arts  of,  Hildc- 
brand,  50. 

Scarlatti,  D.  See  Rimbault,  Piano- 
forte. 59. 

Schindler,  A.,  66. 

Schlrttercr,  H.  M.,  59. 

Schlieman,  .Schuchhardt,  12. 

Schoclchcr,  V'.,  66. 

Schreiber,  G.  L,  12. 

Schubert,  Franz,  Frost,  64,  Krcisslc, 
65. 

Schubiger,  P.  A  ,  61. 

Schuchhardt,  C,  12. 

Schultz,  A.,  12. 

Schumann,  Clara.  See  Fullcr-Miit- 
land.  Masters  of  German  music, 
64. 

Schumann,  Robert,  72,  Reissmann,  66, 
Wasielewski,  67. 

Schure,  E.,68. 

Schuyler,  M.,  45. 

Scotland,  architecture  of.  Waring,  14, 
Macgibbon  and  Ross,  43. 

Scott,  ^/>  G.,  45. 

Scott,  L.,  34. 

Scott,  W.  B.,  34.  53. 

Scridner^s  Magazine^  Coffin,  19. 

Sculptors,  lives  of,  Vasari,  13;  see  alsa 
Blanc,  Artistes  de  mon  temps,  3; 
famous,  Shedd,  35;  Barye,  Alexan- 
dre, 15;  Carpeaux,  Chesneau,  18; 
Carries,  Alexandre,  16;  Etex.  Man- 
geant,  28;  Phidias  and  his  success- 
ors, Murray,  30  ;  Rodin,  see  Lecom- 
te,  L'art  imprcssionniste,  27;  Ruc'e, 
Bertrand.  17;  Stevens,  Aimstrong, 
16.     See  also  Michelangelo. 

Sculpture,  painting  and  (department), 

15-38. 

Sculpture,  Sturgis,  13,  36;  see  alsa 
Gambier,  Ministry  of  fine  art  5, 
Hameiton,  Present  state  of  fine 
art  in  France,  7;  grammar  of,  Blanc, 
Grammaire  des  arts  du  dessin,  3; 
history  of,  Cavallucci,  18;  Marquand 
and  Frothingham,  28  ;  ancient, 
Mitchell,  29,  Paris,  30,  Red  ford, 
32;  Byzantine,  Bayet,  La  peinture 
et  la  sculpture  Chr^tienne  en  ori- 
ent, 16;  French,  Gonse,  23,  Cla- 
rac,  Mus^c  de  sculpture,  19,  Coura- 
jod,  L'origines  de  l'art  modernes, 
20 ;  German,  Fiirster,  Denkmale 
deutsche  Baukunst,  Bildnerei  u. 
Malerei,  v.  EinfUhrung  dcs  Chris- 
tenthums  bis  auf  die  Neuste  Zeit, 
5;  Gothic,  Gonse,  6;  Greek,  see 
Greek  sculpture;  Greek  and  Ro- 
man, Perry,  31;  Roman,  Reinach, 
32;  Italian.  Perkins,  31  ;  Renais- 
sance, see  JFrizzoni,  5,  in  Belgium, 
Destrc'C,  21,  and  modern,  Scott,  34; 
Venetian,  Boulli^r,  L'art  V'enetien, 
3;  schools  and  masters  of,  Radcliffe, 
32;  lectures  on,  see  Ruskin,  Aratra 
Pentelici,  33-34,  Relation  between 
Michael  Angelo  and,  Tintoret,34; 
famous,  Shedd,  35;  catalogue  of 
casts,  Waldstein,  37;  alliance  of,  to 
building,  Simonds,  Belcher,  and 
Benson,  see  Transactions  of  the  Na- 
tional Association,  53. 

Seals,  Lecoy  de  la  Marche,  Les 
sceaux,  27;  Middleton,  Engraved 
gems  of  Classical  times,  29;  Demay, 
Le  costume  au  Moyen-Age  d'aprcs 
les  sceaux,  40. 

Seckcndorflf,  E\  von.  6"«  Villcmarque, 

Seeley,  J.  R 


Seguin,  J.,  53. 
Selvatico,  P.,  12; 


and  Paravicini,  10; 


S8 


Index, 


and  Chirtani,  \-2\  see  also  Q^v^\\xzc\^ 

i8. 
Sensier,  A.,  35. 
Seubert,  A.,  15. 
Seven  lamps  of  architecture,  Ruskin, 

Seward,  T.  F,  See  Marsh,  Story  of 
the  Jubilee  singers,  62. 

Seyffert,  O.,  15. 

Seymoufj  T.  D.,  12. 

Sgambali.  See  Streatfeild,  Masters 
of  Itahan  music,  66. 

Shad  well,  C.  L.  See  Pater,  Greek 
studies,  10. 

Shakespeare  and  music,  Naylor,  58. 

Sharp,  W,,  35. 

Sharps  and  flats,  Maretzek,  58. 

Shedd,  Julia  A.,  35. 

Shedlock,  J.  S.,  59;  trans. ^  see  Wag- 
ner, Richard  Wagner's  letters,  68. 

Shepherd's  tower  (The).  See  Ruskin, 
Mornings  in  Florence,  3^. 

Sicily,  Byzantine  wall-paintings  in. 
See  Diehl,  L'art  Byzantin  dans 
ritalie  m^ndionale,  4. 

Sienese  school  of  art.  See  Mesnard, 
Paintings  at  Sienna,  28. 

St^na.'e  Jiir  die  Miisikalische  Welt^ 
73- 

Signorelli,  Luca,  Vischer,  37. 

Silversmiths'  work  in  South  Kensing- 
ton  Museum,  Pollen,  52.  See  also 
Goldsmiths'  work. 

Simmonds,  Florence, /rtiwj.  See  Mi- 
chel, Rembrandt,  28-29;  R'cci,  Cor- 
reggio,  32-33. 

Simonds,  G.  See  Transactions  of  ihe 
National  Association  for  the  Ad- 
vancement of  Art,  53. 

Simson,  J.  P.,  trans.     See  Weber,  67. 

Sisley.  See  Lecomte,  L'art  impres- 
sionniste,  27. 

Sistine  Chapel,  frescoes  of  Michel- 
angelo in,  see  Wilson,  Life  and 
works  of  Michelangelo,  14;  story  of 
Genesis  in,  see  Goodyear,  Roman 
and  mediaeval  art,  6. 

Sketches  from  the  subject  and  neigh- 
borlands  of  Venice,  Freeman,  41. 

Slade  School  lectures  on  illustration 
of  books,  Pennell,  31. 

Slater,  J.  See  Smith,  T.  R.,  a?zd  Sla- 
ter, 46. 

Slave  songs  of  the  United  States, 
Allen,  \Vare,  and  Harrison,  61  ;  see 
also  Marsh,  Story  of  the  Jubilee 
singers,  62. 

Smith,  F.  Hopkinson,  g,  35. 

-Smith,  G.  W.,31. 

Smith,  R.  M.,  12. 

Smith,  T.  R.,  and  Poynter,  E.  J.,  45- 
46;  and  Slater,  J.,  46. 

-Smith,  Sir\^.  W.,  15. 

Snuff-boxes.  See  Propert,  History  of 
miniature  art,  32. 

Sokolowsky,  B.  von.  See  Ambros, 
Geschichte  der  Musik,  55. 

Some  artists  at  the  Fair.  9. 

Sommer,  H.  See  Fuller-Maitland, 
Masters  of  German  music,  64. 

Sonatas,  pianoforte,  Shedlock,  59. 

Songs,  of  the  x\.,  xvi.,  xvii.,  and 
XVII.  centuries,  Minne-Master-Folk, 
see  Reissmann,  Das  Deutsche  Lied, 
58-59;  secular,  Kiesewetter,  Schick- 
sale  und  Beschaffenheit  des  Welt- 
lichen  Gesangs,  58  ;  German,  Reiss- 
mann, 58-59 ;  Erk  and  Bnhme, 
62;  American  slave,  Allen,  Ware, 
and  Harrison.  61,  Marsh,  62;  Ba- 
haman,  Edwards,  62  ;  Canadian, 
Gagnon,  62  ;  of  Brittany,  Ville- 
marqu^,  Barzaz-Brelz,  63;  Irish, 
Walker,  63. 

Sound,  Tyndall,  70;  and  music,  Zahm, 

c  70- 

South  Kensington  Handbooks:  Smith, 
Persian  art,  17;  Evans,  Industrial 
arts,  49;  Worsaae,  Industrial  arts  of 
Denmark,  53;  Engel,  Musical  in- 
struments, 57. 

South  Kensington  Museum,  bronzes 
of  European  origin  in,  Fortnum, 
22;  Maiolica,  Hispano- Moresco, 
Persian,  Damascus,  and  Rhodian 
wares  in,  Fortnum,  50;  ivories  an- 
cient and  mediaeval  in,  Maskell,  51 ; 
ancient  and  modern  furniture  and 
wood-work  in,  Pollen,  52 ;  ancient 


and  modern  gold  and  silversmiths' 
work  in,  Pollen,  52  ;  collection  of 
church  vestments,  dresses,  silk 
stuffs,  needlework,  and  tapestries 
in,  Rock,  52, 

Spain,  Kunst  und  Klinstler  des  Mittel- 
alters  und  der  Neuzeit,  Dohme,  5  ; 
artists  of,  Stirling-Maxwell,  12-13  ; 
La  peinture  Espagnole,  Lefort,  27  ; 
Gotnic  architecture  in,  Street,  46 ; 
industrial  arts  of,  Riano,  52. 

Spanish  school  of  art,  Lefort,  27. 

Sparkes,  J.,  ed.  See  Chesneau,  La 
peinture  Anglais,  18. 

Spielraan,  M.  H.,  35, 

Spiers,  R.  P.,  ed.  See  Fergusson, 
History  of  architecture  in  all  coun- 
tries, 40. 

Spinet.      See    Rimbault,    Pianoforte, 

59- 

"  Spirit-fresco  ' '  process.  See  Gam- 
bler, Ministry  of  fine  art,  5. 

Spitta,  P.,  66. 

Spohr,  L.,  66. 

Stage  setting  of  the  xvi.  century, 
see  Celler,  Les  origines  de  I'opera 
et  le  ballet  de  la  reine,  57. 

Stained  glass.     See  Glass. 

Stainer,  Sir  J.;  61;  and  Barret,  73. 

Stanford.  See  Willeby,  Masters  of 
English  music,  67. 

Statham.  H.  H.,  46. 

Statuettes,  Renaissance  and  later, 
see  Maskell,  Description  of  ivories 
in  South  Kensington  Museum,  51. 

Steele,  Frances  M.,  ««(/ Adams,  Eliz- 
abeth L.  S.,  53. 

Stendhal,  de  (Henri  Beyle),  12,  35, 

Stephens,  F.  G.,  35. 

Stevens,  A.,  Armstrong,  16 ;  com- 
pared with  Manet,  see  Bacon,  Pa- 
risian art  and  artists,  16. 

Stevenson,  R.  A.  M.,  35,  trans.  See 
Delaborde,  21. 

Stigand,  Isabella,  S.  E.,  trans.  See 
Wasieiewski,  59. 

Stillman,  W.  J.  See  Cole,  Old  Italian 
masters,  19. 

Stirling-Maxwell,  Sir  W.,  12-13. 

Stockholm.  See  Atkinson,  Art  tour 
to  northern  capitals  of  Europe,  2. 

Stokes,  Marg.     See  Didron,  22. 

Stone,  carved.  See  Pal^ologue,  L'Art 
Chinois,  10. 

Stones  of  Venice,  Ruskin,  45. 

Story-  W.  W..  13. 

Story  of  a  young  designer,  VioUet-Ie- 
Duc,  36-37. 

Strait  gate  (The).  See  Ruskin,  Morn- 
ings in  Florence,  34. 

Stranahan,  Mrs.  C.  H.,  35-36. 

Strauss,  R.  See  Fuller-Maitland, 
Masters  of  German  music,  64. 

Streatfeild,  R.  A.,  66,  72. 

Street,  G.  E.,  46. 

Stringwork,  varied  occupations  in, 
Walker,  53. 

Struggle  of  the  nations,  Maspero,  9. 

Stuart,  Gilbert,  Mason,  28. 

Studies  in  both  arts,  Ruskin,  34. 

Studies  in  modern  music,  Hadow, 
71- 

Studies  in  worship  music,  Curwen,  70- 

Studio  methods  and  conversation, 
Couture,  20. 

Sturgis,  R.,  13,  36,  53;  European  archi- 
tecture, 46  ;  see  also  Homes  in  city 
and  country,  25. 

Styles  Fran^ais  (Les),  Lechevallier- 
Chevignard,  8. 

Suite,  Hanslick,  71. 

Sullivan,  Sir  .A,  See  Willeby,  Mas- 
ters of  English  music,  67. 

Surrey,  old  cottage  and  domestic  ar- 
chitecture in  southwest,  Nevill,  44. 

Sutton  Place,  annals  of,  Harrison,  42. 

Swainson,  H.  See  Lethaby,  W.  R., 
rtw^Swainson,  42. 

Sweetser,  M.  F.,  36. 

Swords,  Japanese.  See  Gonse,  L'art 
Japonais,  6. 

Symbolism,  Christian,  see  Lethaby, 
Architecture,  mysticism,  and  myth, 
8.     See  also  Iconography. 

Symonds,  J.  A.,  13;  tra?is.^  see  Cel- 
lini, 3. 

Symphonies,  standard,  Upton,  72. 

Syria,  Mohammedan  artin,  see  Gayet, 


L'art  Arabe,  6  ;  ancient  art  in,  Per- 
rot  and  Chipiez,  n  ;  cities  of,  see 
Longfellow,  Cyclopaedia  of  works 
of  architecture  in  Italy,  Greece,  and 
the  Levant,  43  ;  see  also  Maspero, 
Struggle  of  the  nations,  9. 

Tables,  making  of,  see  Benson,  Ele- 
ments of  handicraft  and  design,  48. 
Taine,  H.  A.,  13. 
Talks  on  art,  Hunt,  25. 
Talmud  (The),  the  magrepha  of.     See 
Saalschiitz,  Geschichte  u.  Wurde- 
gung  der  Musik  bei  den  Hebraern, 
60-61. 
Tapestry,  Sturgis,  53;  history  of,  Guif- 
frey,  50,  Havard,  50,  MUntz,  52  ;  in 
collection    of   church    vestments, 
South    Kensington  Museum,  Rock, 
52.     See  also  Textile  fabrics. 
Tarbell,  F.  B.,  13. 
Teetgen,  A.,  72. 
Tempera  Middleton,29.    SeealsoVlu' 

ral  painting. 
Temple  of  St.  John  Baptistery,  Flor- 
ence, CEuvres  d'art  de  la,  Gruyer, 
6. 
Ten  years'  digging  in  Egypt,  Petrie, 

II. 
Tenniel,  Sir  J.     See  Spielman,  His- 
tory of  Punch,  35. 
Terra-cotta,     Greek.      See     Murray, 
Handbook  of  Greek  archaeology.  10; 
French,  Thirion,  Les  Adam  el  Clo- 
dion,  36.     See  also  Pottery. 
Texier,  C,  and  PuUan,  R.  P.,  46. 
Textile  fabrics,  Middleton,  51,  Sturgis, 
53;  collection  of  church  vestments, 
dresses,  silk  stuffs,  needlework,  and 
tapestries.  South   Kensington   Mu- 
seum, Rock,  52.    See  a/j;?  Tapestry. 
Thalberg,  piano  method  of.    See  Kul- 

lak,  70. 
Thausing,  M.,  36. 
Thayer,  A.  W.,  66-^7. 
Thibaut,  A.  F.,  72. 
Thirion,  H.,  36. 
Thomas,  A.     See  Hervey,  Masters  of 

French  music,  64. 
Thomas,  T.,  ed.     See  Paine,  65. 
Thompson,   E.   {Lady   Butler).      See 

Bacon,  Parisian  art  and  artists,  16. 
Thomson,  D.  C.,  36. 
Thornbury,  W.,  36. 
Thoughts  about  art,  Hamerton,  7. 
Thoughts    of    great    musicians,    La 

Mara,  72. 
Tiles,   Persian,  see  Van   Dyke,  His- 
tory of  painting,  36 ;  processes  in. 
see  Lilley  ««rt'  Midgley,  Studies  in 
plant  form,  51. 
Tintoretto,    Osier,  30;  and  Michael 

Angelo,  Ruskin,  34. 
Tirard,  Helen  M..^tra?is.    ^^^Erman, 

Life  in  ancient  Egypt,  5. 
Titian,  Crowe  a?^  Cavalcaselle,  20; 
see    also   Sweetser,    Artist    biogra- 
phies, 36. 
Tombs,  papal  and  imperial.    See  Lan- 
ciani.  Pagan  and  Christian  Rome, 
8  ;  at   San  Lorenzo,  see   Goodyear, 
Roman  and  mediaeval  art,  6. 
Tone,   on    the   sensations  of,    Helm- 
holtz,  69-70  ;  From  the  tone  world, 
Ehlert,  71. 
Tools  and  implements,  of  ancient  and 
modern    peoples,    Hottenroth,    Le 
costume,  les  armes,  ustensiles  outils 
des  peuples  anciens  et    modernes, 
50;    of  carpenter,  blacksmith,  and 
other  craftsmen  of  the  Middle  Ages, 
see     Viollet-le-Duc,      Dictionnaire 
raisonn^  du  mobilier  Fran^ais,  53. 
Tournament  in  France  in  the  Middle 
Ages,  see    Viollet-le-Duc,   Diction- 
naire raisonne  du  mobilier  Franjais, 

53- 

Town  halls,  Viollet-le-Duc,  Histoire 
d'un  Hotel  de  ville,  47. 

Townsend,  Pauline  D.,  67,  trans., 
see  Jahn,  64. 

Trani.  See  Freeman,  Sketches  from 
the  subject  and  neighborlands  of 
Venice,  41. 

Transactions  of  the  National  Associa- 
tion for  the  Advancement  of  Art 
and  its  Application  to  Industry,  53. 

Transactions  of  the  Royal  Institute  of 
British  Architects.    See  Willis,  47. 


IiiJex. 


89 


Transatlantic  sketches,  James,  7. 
Tretbar,  Helen,  trans.     See  Ehlert, 

Treviso.  See  Freeman,  Sketches  from 
the  subject  and  neighborlands  of 
Venice,  41. 

Tristan  und  Isolde,  Wagner's  guide 
through  the  music  of,  Wolzogen, 
68. 

Trouveres.  See  Coussemaker,  Adam 
dela  Halle,  60. 

Troy,  Schliemann's  excavations  at, 
Schuchhardt,  12. 

Troyon.  See  Blanc,  Artistes  de  mon 
temps,  3. 

Tryon,  D.  W.  Sec  Modern  French 
masters,  29. 

Tsountas,  C,  n. 

Tu  lor  architecture.  See  Three  peri- 
ods of  English  architecture,  Harris, 
42. 

Tumuli.    See  Monuments. 

Turkish  music.  See  Kiesewetter,  Die 
Musik  der  Araber,  62. 

Turner,  J.  M.  W.,  Thornbury,  36;  see 
also  Sweetser,  Artist  biographies, 
36;  Ruskin,  Lectures  on  architecture 
and  painting,  12,  Harbours  of  Eng- 
land, 33;  Wedmore,  Etching  in  Eng- 
land, 37. 

Turner,  Mary  E.  See  Morris,  Arts 
and  crafts  essays,  51-52. 

Turner,  T.  H.,  46. 

Tuscan  art,  lectures  on.  See  Ruskin, 
Val  d'Arnorf«(/  Laws  of  Fesole,  34. 

Tuscany,  A  travers  la Toscane,  Miintz, 
10;  in  the  Middle  Ages,  Rohaull  de 
Fleury,  45. 

Tuxedo  Park.  See  Price,  The  subur- 
ban house,  44. 

Two  paths  (The),  Ruskin,  12. 

Tyndall,  J.,  70. 

LTndine.  See  Freeman,  Sketches  from 
the  subject  and  neighborlands  of 
Venice,  41. 

Upcott,  L.  E.,  36. 

Lfpton,  G.  P.,  72;  traits.^  see  Nohl,  65. 

Universities,  study  of  art  in,  Wald- 
stein,  14. 

Utensils.    See  Tools. 

Vachon,  M.,  36,  46. 

Val  d  Arno,  Ruskin,  34. 

Van  Aalst,  J.  A.,  63. 

Van  Brunt,  H.,  46-47. 

Van  Dvck,  A.,  Guiffrey,  23-24;  and  his 
pupifs,  Michiels,  29;  see  also  Sweet- 
ser, Artist  biographies,  36. 

Van  Dyke,  J.  C.,  36;  see  also  Cole, 
Old  Dutch  and  Flemish  masters, 
29;  Modern  French  masters,  29. 

Van  Rensselaer,  Mrs.  S.,  47. 

Vasari,  G.,  13;  see  also  Mesnard,  La 
peinture  i  Sienne,  28. 

Vases,  Greek,  see  Murray,  Mythol- 
ogy and  monuments  of  ancient 
Athens,  7,  10;  their  form  and  deco- 
ration, Lau,  Die  Griechischen 
Vasen,  ihre  formen  und  decoration- 
system,  51;  Etruscan  and  Roman 
in  Boston  Museum,  Robinson,  52. 

Vatican,  the  Amazon  in  the.  See 
CoUignon,  Histoire  de  la  sculpture 
Grecque,  ig. 

Vaulted  book  (The).  See  Ruskin, 
Mornings  in  Florence,  34. 

Vaults  ot  the  Middle  Ages.  See 
Gothic  vaulting 

Vedder,  E.  See  Smith,  American  il- 
lustrators, 35. 

Velasquez,  Armstrong,  16,  Justi,  26, 
Lefort,  27,  Michel,  20,  Stevenson, 
35;  see  also  Stirling-Maxwell,  An- 
nals of  the  artists  ofSpain,  12-13. 

Venetian  art,  Boullier,  3,  De  Pontes, 
21;  see  also  Karoly,  Guide  to  the 
paintings  of  Venice,  26. 

Venetian  music.  See  Reissmann, 
AUgemeine  Geschicbte  der  Musik, 


56,  Winterfeld,  Johannes  Gabrieli, 

59- 

Venice,  La  vip  priv<?e  i  Venisc,  Mol- 
menti,  9;  history  of  painting  in,  from 
XIV.  to  XVI,  century,  Crowe  and 
Cavalcaselle,  20;  guide  to  paintings 
of,  Karoly,  26;  St,  Mark's  rest:  the 
history  of,  Ruskm,  34;  Academy  of 
fine  arts  at,  guide  to  the  principal 
pictures,  Ruskin,  34;  sketches  from, 
Freeman,  41;  stones  of,  Ruskin,  45; 
architecture  of,  Rus'<ln,  45. 

Venus  de  Milo.  See  Furtwiingler, 
Masterpieces  of  Grjek  sculpture, 
23- 

Verdi,  Pougin,  66;  see  also  Edwards, 
Rossini,  64  ;  Streatfeild,  Masters  of 
Italian  music,  66;  Pfohl,  Die  Mo- 
derne  Oper,  72. 

Vernet,  Horace,  Rees,  32. 

Veron,  E,,  36. 

Verona,  history  of  painting  in,  from 
XIV.  to  XVI.  century,  Crowe  and 
Cavalcaselle,  20. 

Veronese,  Paul,  Vriarte,  37. 

Verrall,  Marg.  de  G..  trans.  See 
Harrison,  Mythology  and  monu- 
ments of  ancient  Athens,  7. 

Vicenza,  history  of  painting  in,  from 
XIV.  to  XVI.  century,  Crowe  and 
Cavalcaselle,  20. 

Vidal,  A.,  59. 

Vienna,  concerts  in,  HansHck,  Ge- 
schicbte des  Concert  wesens  in  Wien, 

Vienne,  buildings  of  the  Roman  time 
and  Middle  Ages  in.  See  Macgib- 
bon,  Architecture  of  Provence  and 
the  Riviera,  43. 

Vierge,  D.  See  Morin,  French  illus- 
trators, 30. 

Villemarqu^,  H.  de  la,  63. 

Vinci,  Leonardo  da,  Ricnter,  33,  Rio, 
33 ;  see  also  Sweetser,  Artist  biog- 
raphies, 36. 

Viohn  (The),  and  its  music.  Hart,  57  ; 
bibliography  of,  Heron-Allen,  De 
fidiculis  bibliographia,  57;  and  in- 
struments played  with  a  bow,  Vi- 
dal, Les  instruments  i  archet,  59, 

Viollet-le-Duc,  E.  E.,  14,  36-37.  47t 
53  ;  see  also  Huss,  42,  Sabine,  45. 

Violoncello  and  its  history,  Wasielew- 
ski,  59. 

Virgil,  country  of,  Boissier,  3. 

Virgin,  holy.     See  Madonna. 

Virgin  martyrs,  ^t-c  Jameson,  Sacred 
and  legendary  art,  26. 

Virginal.  See  Rimbault,  Pianoforte, 
59. 

Virtuosi,  HansHck,  Concerto,  Com- 
ponisten  u.  Virtuosen,  71. 

Vischer,  L.,  37. 

Vitraux.    See  Glass. 

Vosmaer,  C,  37. 

Wagenseil,  J.  C.  68. 

Wagner,  R.,  works,  letters,  etc.,  68; 
life  of,  Nohl,  65,  Kinck,  67,  Glase- 
napp,  67,  Hueffer,  67,  Jullien,  67-68; 
guide  through  the  mu^ic  of,  Wolzo- 
gen, 68.  See  also  Wagneriana  (de- 
partment), 67-60. 

Wagner  drama,  legends  of,  Weston, 
68;studiesin,  Krehbiel,  68.  See  also 
Wagneriana  (department),  67-69. 

Wagner  story-book,  Frost,  67. 

Wagneriana  (department),  67-69. 

Wafdstein,  C,  14,  37. 

Walker,  Fred.,  Phillips,  31. 

Walker,  J.  C,  63. 

Walker,  Louisa,  53. 

Wall  painting,  Byzantine,  Diehl,  L'art 
Byzantin,  4;  Gothic,  Gonse,  L'art 
Gothique,  6;  Egyptian,  Van  Dyke, 
History  of  painting,  36.  See  also 
Frescoes,  Mural  painting,  Tempera. 

Wallaschek,  R.,  63. 

Ware,  C.  P.     See  Allen,  W.  F.    61. 

Waring,  J.  B.,  14. 


Wasiclcwski,  W.  J.  von,  59,  67. 
Watrous,  H.  W.    ^V*-  Modern  French 

masters,  29. 
Watleau,  A.,  Phillips,  31:  see  also  De 

Goncourt,    L'art  du    xviii.    siiclc, 

J3^* 

W^tts,  T.,  14- 

Wautcrs,  A.  J.,  37. 

Wayte,  W.     See  Smith,  Sir  W.,  15. 

Weapons,  Maindron,  Lea  armcs,  51, 
see  also  Jcwill,  Half-hours  among 
some  English  antiquities,  7;  of  an- 
cient and  modern  peoples,  Hotien- 
roth,  Le  costume,  les  armes,  uten- 
siles  outils  des  pcuplcs  ancitns  et 
modernes,  50. 

Weber,  Carl  Maria  von,  Benedict, 
6j,  Weber,  M.  M,,  67. 

Weber,  F,,  trans.     See  Elterlein,  71, 

Weber.  liaron  M.  M.  von,  67. 

Wedmore,  F.,  37;  ed.^  see  Michel, 
Rembrandt,  28. 

Weir,  J,  A.  See  Modern  French  mas- 
ters, 29. 

Weitzmann,  C.  F.,  59. 

Weston,  Jessie  L.,  68. 

Westphal,  R.,  61  ;  see  also  Ambros, 
Geschichte  der  Musik,  55;  Pref- 
atory note.  54. 

Whistler.  J.  M.  .See  Wedmore,  Etch- 
ing in  England,  37. 

White,  J.  W.,  ji. 

Widor.  See  Hervey,  Masters  of 
French  music,  64. 

Wilkie.  See  Wedmore,  Etching  in 
England,  37. 

Willaert,  A.  See  Winterfeld,  Johan- 
nes Gabrieli  und  sein  Zeitalter,  59. 

Willard,  A.  R.,  37. 

Willeby,  C,  67. 

Williams,  C.  F.  A.,6i. 

Willis.  Rev.  R.,  47- 

Willshire,  W.  H.,  37. 

Wilson,  C.  H.,  14,  37. 

Winterfeld,  C.  von.  59. 

Woermann,  K.  .S"(v  Woltraann,  A., 
and  Woermann,  37. 

Wiilfflin.  H.,47- 

Woltm ann,  A.,  a nd  Woermann, K.,  37. 

Wolzogen,  H.  von,  68;  trans.y  see 
Schure,  68, 

Wood,  Esther,  37. 

Wood,  H.  T.,37. 

Wood-carving.  Middleton.  29.  Sturgis, 
36;   Chinese,  see  Paleologue,  L  art 


^^ 


:hinois,  10;  Indian,  De  Forest,  39- 
.0. 
Wood-engraving.    Sturgis,    36,    Cun- 


40. 
rVood-engraving.    Sturgts,    36, 
dall,  21.  Delaborde,  21,  Jackson,  25- 


26,  Linton,  28;  see  also  Century  ^3l\- 
lery,  18,  modern  French  masters,  29, 
Ruskin,  Ariadne  Florentina,  34, 
Smith,  American  illustrators,  35. 

Woodwork,  ancient  and  modern,  in 
the  South  Kensington  Museum,  Pol- 
len, 52. 

Wooldridge.  H.  E.  See  Chappell. 
Old  English  music,  61. 

World's  Columbian  Exposition,  fine 
arts  at,  Coffin,  3  ;  some  artists  at, 
Millet,  9. 

Worsaae,  J.  J.  A.,  53. 

Worship  music,  studies  in,  Curwen, 
70-71. 

Wortman,  Pr.  Alfr.  See  Cundall, 
Hans  Holbein,  21. 

Wren,  Christopher,  Inigo  Jones  and» 
Loftie,  43  ;  see  also  Daniell,  London 
city  churches,  39  ;  Longman,  His- 
tory of  the  three  cathedrals  dedi- 
cated to  St.  Paul,  43. 

Wright,  J.  H.,  trans.  See  CoUignon, 
Archt-ologie  Grecque,  4. 

Vriarte,  C,  37. 

Zahm,  Rev.  J.  A.,  70, 

Zarlino.      See  Winterfeld,    Johannes 

Gabrieli  und  sem  Zeitalter,  59. 
Zeitschri/t  fur  Instrumenteoau^  73. 


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